N 4010 



i - 


, * 4 o 

; ° .•<?- 't' ^ <£sy//n)2S'" v 'jv 

* Pv* vyy lyjgi «* « 

1 cv * • ' cP C 

xV O, • / 1 xt) 

A *’•». % .r ^ v- , - ^ .« 

♦• n $vx5.» "Px a*^ V, \ v. ! V^" »$>■ <6 » *>v 

• A * * r$* * I 

* ^Stfv: v<A -i 

. c - : „ 

p? % *^Jfev A 

<3. ■'..«* A ^ '*• » I < v 

0 c° 

J • 


o B o • *? O *’»,■.• 

,\ <J» 

»’ • ®- cv ax 

rt -■ • *fV av 
jA V> A ° -tfv tv t 


.«* \ N 

r. ^o v* : 
*0^. 


t: 4?\ iff# /% A\ yW* , 

.//..^V'-V .-... < V"** 

r ♦VvT^bs’ C *^U', V> 4^ f V/^, * Vv- c* 

:£$mz£- +*■$ . -:4§lPi*. ’bv > :£mtp- *+$ :< 


A 4 * 


»o A o* * <i5 ^ v A ^ 

*•> 1 * *° «o° A* • <V # *- ,,# f° .. ^5 

V ,’*»x CV AV ♦ »•,!/* V •- V ,.’*<-* CV »*!nl/» 

> *>Wa* cV .VfifeV ^ > »>Va<- V A 
: SiP 6 * wMW: Ayv ° ° wwv§\ fc 


* *y A 

_ . V5 V . > 

A <V Jy° ^ 

V / °<*x * ' ■' * ^ 0 <^X *" 0 " 0 / 

r- ^^ -^k % - ^ ^ * 

. „«/ c« • ‘x’ "• llltaii-T a^ ^v °o^ i-I y ** < 

tf -o..’* ,(y V *-^!«* A <* 'o.»* A o v \5 

^ c o v ,*°"*j •&+**'£?+ ^ c° v .°y"y% o o , 

»* ^ a o\y%Si$A ..’ ^ / 

r\ _x • • -i ^ 



a> ^ . £iy * 

*'7vT' / 

■ - " - ’ # *- A^ % 



kV ^ y 

j.V’V .A** 0 

♦ ^ ^ o^OCv^* yy, ^ ^ 

<* 'o.x- A 0\ '’o V.y* ,A 'o.»* 

A ., ♦o, > % .-Vi-. V 


\5 “'V^S* A <> 'ow'* .0 

' A .V^V \ / 

I*, ■•bp .v¥? : A’- ^ .;< 

f* A^. ‘i^H: o^ ,1 



* ^ 0 

^ • %p <. .' 

^ ^ o v .: 

* y h \s-’ / f°° ^ % »°° 

v •'i*"' cv xO ,lV V V> / V % *»••- cv .0^ •••• 

> ^ a ^ > 4V A % V cV y j 

; ■ W .'Ml 0 , • 

3 ^ V, V ?0 l( urmW* a A'V - WfS■' 0 ^ Vy V 

<* •••»• A o v vb a <> '•• 

. <a> ry ’6 » «\ A? .4> ,i-. 4 A 

- ^ *«• ° 0 A '■ 'yrtvZ-, *f> 

»N * Jfi.'l///..- .' _ Tx 

o» A 'Jk(ImzZ>-* A, 

Of . ^ 

O * * 


i- '-?S!l»v x 4 v '. V «?VV- x 

V *-•••’ <*, '”••* -4° 

v °o A ♦wai* ^ c G • 

!". *ov 4 -'mm*- ^o* ;« 

y * <0^*. < * 



V Tx. .•V®^ A >°^ •»; y 

’A .. A % ‘^r A %.A 

A A -'i'i'- V '/.^;. v V s ,- 

* * V$x vv 4 rCCVSl? A C A * fSiiCa * <C. AV ♦ 

v-A 'wA° ° AfSfe - vv 

^ a 5 'V *j 

<> '» . » 4 y<S V3 ■ 

'p. 


° ■■ --, " Vw - v "' * " vpb ° . r 

« Y, '''V'" '.'■ * A Af> J >''-/-i-^'v a aVV * * A^rv 

c *vlv/ A 'V * aV ^ oVjIxk* A ^> 

. 'o..* Cr \D *x V f' s ^ A. <V ’'Ox ** 4 A 

^ ^°° °° c ° 




o t* 

<0 »^v 

o' "A. 

b *■., i f ' 5 ^ * ° * - ^ 

o. aO ,» '• % ^ V 

\r XJtwK. " ,$> o, 

a v * 

* 





A ^ 

' <? °o ‘.Tr,-’ o J %'‘.-7i' <r 

’ * °- cv .9 ,*? o > A o ’ • o. 

\ A -y'dvV- ** ,** .: • 

*v-\ ., 

■ 


*„ ©, -A k « 1 1* * a* ,o v o 

. v, * apff 'r?y^, * -y ^ 

-ov* **<t 


✓'0 



P 

u* 0> . 

. V 




°o *"*TPi * 1 ,cr 

\V A+. • ' 1 A. 

v *:*«* cv .o v s» 

- ‘".S • < f‘ /A * 

fA" c? * 

° 



, V-/ V’ • 

JP'V ■ 

O *V^ • .0' V * c'?T’ §• O *Xi* .0 $ * V V ’ $'■' 

X \ X^C*. ■>. v\. 

v^fA". .*oBkv : 


’* aV*\ * » Am/* J O A-* >* A 

; ^ X v..:-. V / % \> :--.>v ^ X *><MNv / ^ v 

/V <. "o. »* .(f \3 *■>.. t * A <. 'o. » * 6^ 'O * 

?s'^i* \ X O^l* % A .c^k- % C° V Aw °o 

V*—\A ... %>•*>.... V—**./.....v.“«< 





° •?- 

V * e „ a c A* ' * * 

' V CV .0 

Ar A * 

,J A e? 


**ii* X* * o „ o- y 

A V t , ‘ * 1 /* v % . * * o- # c\ v 

• ^\ v * r ^ 'v' * 

Vp -• O A V^V, Q < 1H * ■ ', » vP J v: '- ’ ’' , ''li J , ‘r :'^ A " C \ V'^V, 

.(F V 97X A <A '< . N' ,G V 'vtK* x A 


xy > 

* V A* 

5 °, 

.* /\ «' A A '. 

» . 9- ^ vrV* .«- v cf» 

A <A *’<>•»'* .c 

a» A 


^ . 



'i o 

■°' AP" T “’’ v A ..,. V'^"/. • •. ’A* v 

%A •« X/ .•*': %A 

j.'-’v ‘.Wf; 

» , y v • fei 2>> ^ * . A V A 

0 V 6 0 " ° ♦ 

I • 



i- * •**<£■ \-s?' i . 7 - * fc> s' 

X <, /7A’ A <> 'o. t ‘ 

+6 X X 

' O Ste/r?7^. - rr 


A 


4 o 
<v' Aft 


« «p.t CV 

V. *0.0’ A O 

*> V •»*•- o 



i- 0 ^ - 

c* ^'t-COLT^X 0 ‘'j’^ANAs 5 '• * A o * ^0V — 

* * i •> • a9 * ®" ° 0 a *■•/•>* 

v . I CTV AT s’ V* X V 

. x. .p \ ( <y ** Xi 

. A ^'-TV. , J A V A. °, * Op ' J A ’ ■• A 'Co 

.0^ X %vvi* A A & X '* f A 

0" 6 °*®4 A •*■'•♦ '^p C 0° '■», O ^ t* 1,1 * 

' W rXI^ X/ 



A 


























li nervjd*jp\ . 


HE BROOKLYN INSTITUTE 
OF ARTS AND SCIENCES. V 

DEPARTMENT OF FINE 
ARTS. > ILLUSTRATED CATA¬ 
LOGUE OF THE GOODYEAR COL¬ 
LECTION OF PHOTOGRAPHS OF • 

ITALIAN ARCHITECTURE AND 
SCULPTURE, AND OF THE SUR¬ 
VEY OF ITALIAN MEDIEVAL 
BUILDINGS 




v 







































































NORTH PORCH OF THE NEW MUSEUM OF THE BROOKLYN 
INSTITUTE OF ARTS AND SCIENCES. 







































































Brooklyn Institute of Arts and Sciences. 




Department of Fine Arts 


ILLUSTRATED CATALOGUE 


OF THE 

Goodyear Collection of Photographs 


ITALIAN ARCHITECTURE AND SCULPTURE, AND OF THE 
SURVEY OF ITALIAN MEDIAEVAL BUILDINGS. 


The Original Observations, Choice of Subjects and Catalogue Text by 

Professor Wm. H. Goodyear. 


The Negatives, Prints, Bromide Enlargements, and Cartoons of the Survey by 

MR. JOHN W. MCKECKNIE. 












4 ,' 

Ube 

VOL. VI JULY-SEPTEMBER, 1896. No. 1. 


OPTICAL REFINEMENTS IN MEDIAEVAL ARCHITECTURE.* 

* 

Report of the Brooklyn Institute Survey, May-October, 1895. 


I. 


A DMIRATION of the mediaeval 
cathedrals is so much a matter 
of course nowadays that all 
persons inside the pale of European 
civilization are expected to feel it and 
to give expression to it, consequently 
they all do it. How far this admira¬ 
tion is a matter of fashion and how 
far it is really felt is, however, an open 
question. Historic associations and 
the romance connected with them will 
carry people a long way in West¬ 
minster or at Canterbury. The 
medieval cathedrals are, generally, 
larger buildings than their modern 
copies, and in so far are calculated to 
excite admiration by this fact of their 
dimension, which is, of all elements in 
building, the most obvious and the 
most easily understood. It is, how¬ 
ever, extremely doubtful whether the 
finest qualities of the mediaeval cathe¬ 
drals are those which generally excite 
the warmest admiration. Otherwise 
it would be extremely difficult to 


understand why the deficiency of these 
qualities is so complacently tolerated 
in modern buildings at once by archi¬ 
tects and by the general public. 

When Viollet le Due said “ Our 
streets are deserts for thought; they 
have all the monotony of the desert 
without its compensating loneliness,” 
he was thinking of the coldness of 
their strict symmetry, the monotony 
of their mathematical regularity and 
of their mechanically repeated and 
mechanically executed details. 

Our modern architectural crime, 
which cries aloud to heaven for repro¬ 
bation, is deficiency of the picturesque. 
An old barn or an old farm house are 
a thousand times more interesting 
than the New York Post Office and a 
thousand times more interesting than 
a good many other buildings which it 
is not quite so fashionable to sneer at. 
This deficiency of the picturesque is 
largely an inevitable result of our 
social conditions, but that is no reason 


♦The photographs used in illustration were taken by Mr. John W. McKecknie, under direction of Professor 
Goodyear, for the Brooklyn Institute, expressly to illustrate the subject and are its property. The plans, sections and 
drawings have been prepared by Mr. John W. McKecknie, under Professor Goodyear’s direction, from surveys sup¬ 
ported by the Brooklyn Institute. 

Copyright, 1896, by The Architectural Record Company. All rights reserved 
Vol. VI.—1.—1. 





2 


THE ARCHITECTURAL RECORD. 


why it should not be recognized and 
deplored. 

In an old cathedral every capital, 
every gargoyle, every finial, every 
window, every statue, was an inde¬ 
pendent creative effort ot the indi¬ 
vidual artisan. The designs were not 
passed over to the workman from an 
architect’s office. The workman him¬ 
self created the design. 

Hence the infinite variety of 
mediaeval detail which is :>ne grand 
source of the picturesque character of 
mediaeval building. Variety was an 
inevitable result when every workman 
did his own designing in detail, from 
the mere fact that many different 
workmen were employed ; and the 
individual workman varied his own 
detail from one form to the next cor¬ 
responding one for the same reason 
that he was himself the inventor of it. 

Hence creations like the faqades of 
San Martino, at Lucca, or of San Pietro, 
at Toscanella, to name two examples 
out of hundreds, are practically impos¬ 
sible things in modern art. Our 
faqades are designed by an architect, 
not only as a whole, but also as regards 
their individual parts. Even where 
the effort occasionally appears in 
modern work, to manufacture artificial 
irregularity in the original design, this 
manufactured irregularity will never 
have the spontaneous and unpremedi¬ 
tated variety of the old creation. 
Generally speaking, even the effort is 
wanting. Given the effort, we still 
have to meet the difficulty that the 
stone-cutter, who works after the pat¬ 
tern which has been manufactured for 
him and not by him, will never give 
his cutting the sparkle, the force and 
the originality which distinguish the 
handiwork of the artist artisan of the 
Middle Ages. We have an analogous 
case in the contrast between the 
inferiority of our modern marble 
statues, which are rarely cut by the 
sculptor himself, and those more vital 
ones of older art, on which the sculptor 
himself did the cutting. 

It appears, when these facts are ex¬ 
amined, that the admitted inferiorities 
of modern architecture are largely 
inevitable results of changed social 
conditions, and that preaching and 


criticism are ineffective weapons 
against them. To change ©ur whole 
social fabric and to abolish the divis¬ 
ion of labor, which has separated the 
architect from the master-mason, 
which has separated the designing 
clerk in a pent-up office from the 
stone-cutter on his scaffold—this is the 
impossible task which the critic must 
set himself, who wishes to revive the 
virtues of mediseval building. It is a 
fact of deep significance that William 
Morris is a Socialist, that the works 
of Ruskin are brimful of economic 
theories. Let these theories be good 
or bad, wise or foolish, the fact will 
stand that every true artist of our 
day is also at heart a social reformer, 
and it may be that he knows it best 
who says the least about it. 

But there are other differences be¬ 
tween a medieval cathedral and a 
modern church, besides the differences 
in the matter of picturesque details. 
How rarely do we find any exact sym¬ 
metry in those apparently correspond¬ 
ing parts which belong to the design 
of the mediaeval church as a whole. 
How frequently do we find variety in 
the design of two corresponding spires 
and other irregularities of arrange¬ 
ment. Uniformity, even in the main 
features of an old cathedral, is rather 
an exception than a rule. 

It is the habit to explain such irregu¬ 
larities as the result of construction at 
different periods. But this habit of 
explanation really begs the question 
as to how they have arisen. A cathe¬ 
dral was frequently two or three cen¬ 
turies in building, it is true, but it is 
absurd to say that the faqade of Dinan 
or the choir of Mainz (before the 
recent restoration) showed Gothic 
pointed work on top of Romanesque 
simply for this reason. If the senti¬ 
ment asking for uniformity had existed, 
could not the later architects have 
finished the building in the style pre¬ 
vailing when the building was begun ? 
Admitting that one spire of the faqade 
at Tours is later than the other, as it 
naturally might be, is that any reason 
why the second spire should not cor¬ 
respond to the first, if the desire had 
existed to make it correspond ? 

The fact is simply this, that the 


REFINEMENTS IN M ED EE VAL ARCHITECTURE. 


3 


habits of successive architects corre¬ 
sponded to the habit of any one given 
architect, and that any given architect 
ot the Middle Age habitually intro¬ 
duced any variation into his design 
which was suggested either by his 
fancy or by changes of plan made for 
some definite cause. If, for instance, 
he had finished one spire and had a 
chance to improve the design of its 
fellow, either because more money and 
more work on it were available, or be¬ 
cause he discovered a defect which 
might be avoided, or an improvement 
which might be added, there was 
nothing in the ethics of his profession 
or in the prejudices of his time which 
would antagonize such changes. 

To understand an old cathedral we 
must begin with the union in one per¬ 
son of the artist and the artisan. 1 he 
picturesque variety springing from the 
creative capacity of the individual 
mason and the individual stone-cutter 
ran all through the building. The 
architect himself was simply a master- 
mason, i. e., he was himself a mason 
by profession. He was not isolated 
in an office, he was at once architect 
and builder. It is well known that the 
first man in Europe who ever proposed 
to separate the profession of architect 
and builder was the Florentine Leon 
Battista Alberti (fifteenth century). 
The first man in England who ever 
compelled his wood workers and 
stone workers to copy his designs, for 
detail, and to give up making their 
own, was Inigo Jones (seventeenth 
century). 

As long as the architect was the 
master-mason he was not bound by 
his own plan. He carried his plan in 
his head, and on the scaffolds of his 
building he changed it at will and 
freely, as he went along. 

Therefore, in its whole plan, and also 
in its details, an old cathedral differs 
from a modern church as hand-made 
lace differs from machine work, as a 
Hindoo rug differs from one made in 
Yonkers, as a camel’s hair shawl dif¬ 
fers from a Paisley. 

II. 

Up to date the element of pic¬ 
turesque irregularity in mediaeval ar¬ 


chitecture has been most potently 
emphasized and most eloquently de¬ 
scribed by Mr. Ruskin, especially 
under the heading of the Lamp of Lipe 
in the Seven Lamps of Architecture. 

He has attributed it to a conscious 
purpose in some definite cases, which 
he has specifically described, while 
freely admitting that there is no hard 
and fast line to be drawn in the ex¬ 
amples he has cited between artistic 
and praiseworthy work, which achieves 
the element of “ life,” or of the pic¬ 
turesque, simply because it has not set 
up a mistaken standard of mathemati¬ 
cal regularity—and that work which 
was consciously and definitely planned 
to avoid the coldness of strict 
symmetry. 

There is, therefore, an element of 
irregularity often found in mediaeval 
building which corresponds very 
closely to the style of decorative de¬ 
sign in modern Japanese art—as re¬ 
gards the philosophy of the irregular 
quality. Clearly the artistic spirit of 
the Japanese decorative art con¬ 
sciously scorns the trammels of mathe¬ 
matical symmetry, but it would be dif¬ 
ficult to say, in a multitude of cases, 
whether the decorative design is pur¬ 
posely irregular or whether it is so 
simply because the more difficult and 
yet inadvisable methods of applying 
mathematical measurements to deco¬ 
ration are not practiced in Japan. 

It is rather difficult for the average 
taste of modern European and United 
States civilization to realize the inter¬ 
penetration of the conscious and the un¬ 
conscious factors in a really pictur¬ 
esque style, because this modern taste 
is an extremely vitiated one ; judged 
from the standpoint of the expert in 
Oriental ornament or in historic de¬ 
sign ; as regards its preference for 
mathematical regularity in ornament 
or its easy toleration of the cold and 
formal results of such regularity. 
Many of our most elaborate and pre¬ 
tentious imitations of historic style 
are ridiculous caricatures of the his¬ 
toric monuments, when the deficiency 
of the vital element which makes the 
historic monument interesting, is con¬ 
sidered. This vital element has a 
twofold character—bold contemp 


4 


THE ARCHITECTURAL RECORD. 


for strict symmetry as regards the 
whole organism of the building, com¬ 
bined with the inevitable and natural 
results of leaving individual details to 
the individual artisan. These last re¬ 
sults, of course, can only be imagined 
as existing in social conditions which 
made of the artisan an artist having a 
creative capacity which to-day he has 
wholly lost. 

The century in which division of 
labor has lowered the capacity of the 
artisan class, in which machine-mauc 
work has accustomed the eye to in¬ 
artistic uniformity of ornamental de¬ 
tail, in which the specializing of pro¬ 
fessions and occupations has made it 
difficult for the educated public as a 
mass to be thoroughly familiar with 
even the most elementary canons of 
artistic taste, in which the habit of 
slavishly copying old historic styles 
has crippled original design in archi¬ 
tecture, is not very well prepared to 
appreciate the vitality of mediaeval 
architecture at its full value. 

It is, moreover, a point of supreme 
importance as regards the inherent 
prejudices and deficiencies, both of 
uninstructed and aiso of presumably 
cultivated modern taste that our archi¬ 
tectural traditions, as a matter of strict 
historic continuity, are those of the late 
Renaissance in which this vital ele¬ 
ment and the picturesque quality were 
wholly lacking. None of the various 
reactions against these traditions of 
the cold and formal late Renaissance 
date back of the last quarter of the 
eighteenth century. All of these re¬ 
actions have been artificial revivals of 
older historic styles; consequently 
also of a necessarily formal character. 
How utterly, the modern Greek temple 
copies, for example, have been want¬ 
ing in all the most interesting traits 
of the historic originals has been laid 
bare by the discoveries of Pennethorne 
and Penrose, whose first publication is 
as recent as 1851. 

I cannot, therefore, feel it advisable 
to announce my own discoveries re¬ 
garding the architecture of the Middle 
Age without this preliminary effort 
to clear the way for such announce¬ 
ments. The appreciation of the im¬ 
portance of the observations which I 


am about to publish will come from 
personsof artistic temperament already 
appreciative of the picturesque quality 
in mediaeval building, and especially 
from those already predisposed to 
credit the artist of any period with 
knowing fairly well what he is doing 
and hou< he is doing it. 

That the artist, in any field of art, 
pays very much attention to the why 
of his doing I consider rather doubt¬ 
ful, and in so far as my readers 
prefer my facts to my explanations 
of them or to the assumption 
that these explanations represent any 
definite theories of the builders them¬ 
selves I shall be well pleased. I be¬ 
lieve that every artist works largely 
from intuition, from feeling, and from 
experience. But if it be assumed that 
I have attempted to read into some 
works of the Middle Ages a subtlety 
and a knowledge of which their builders 
were naturally incapable, this is an 
assumption which I should indignantly 
resent, not on ni3 r own account but on 
theirs. 

It is an untenable attitude which 
exalts or concedes the beauties of the 
faqades at Toscanella as equal to any 
work in Italy, and which then at¬ 
tempts to explain the ground plans, 
which I shall publish, as being oblique 
because the architects did not know a 
rectangle when they saw it, and as 
having curves because they did not 
know how to make a straight line. 
To say that the interior arches of 
these churches are of irregular size (in 
dimensions, which make oversight of 
the fact impossible,) because the de¬ 
signers were barbarians or careless 
workmen is to say that the faqades 
are beautiful for the same reason, 
which is absurd. 

All I demand is that the unfamiliar 
but beautiful buildings which I have 
examined, such as the Cathedral of 
Troja, shall be considered as wholes 
and as works of inspiration through¬ 
out, and that the new facts which I 
shall present for buildings already 
familiar and already admired shall be 
understood as having always con¬ 
tributed to the beauties which have 
been already conceded to exist. If cer¬ 
tain facts about them have been 


REFINEMENTS IN MEDIALVAL ARCHITECTURE . 


5 


hitherto overlooked, let us not make 
the mistake of separating these facts 
from the effects to which they are the 
main contributors, of despising or neg¬ 
lecting the study of unknown phen¬ 
omena because they are unknown. A 
ground plan is not in itself a thing of 
beauty, sections of churches are not 
in themselves interesting, measure¬ 
ments are not easy reading, photo¬ 
graphic details are not the "buildings 
themselves, but if the results which 
they represent are an inspiration of 
picturesque beauty in the given build¬ 
ings, let us admit that the subject is 
worth looking into. 

III. 

I do not lay claim to any originality 
of presentation or any discovery of 
facts as to the points so far discussed 
regarding mediaeval irregularities of 
construction. They have been abun¬ 
dantly and eloquently presented by 
Mr. Ruskin, especially in his Seven 
Lamps, and especially in the La?np of 
Life. They are ideas which are cer 
tainly felt by every true artist in some 
way or other, and which may be half¬ 
heartedly professed by other men, 
whose every stroke of work gives the 
lie to such profession. 

As distinct from the mediaeval irreg¬ 
ularities so far considered there are 
other phenomena of construction 
which have so far escaped the atten¬ 
tion of science and of the History of 
Art; phenomena which constantly es¬ 
cape our notice when we are in the 
buildings ; phenomena which were 
meant not to be seen or noticed, or 
not to be obtrusive. 

There are still other phenomena 
which have been seen and misinter¬ 
preted, which have been attributed to 
accident when there was no accident, 
which have been attributed to careless 
designing when the purpose was sub¬ 
tle, or which have been consid¬ 
ered as local mysteries when they 
have analogies all over Europe. 

These phenomena are by no means 
universal. For the amount of diffu¬ 
sion, for the localities in which they 
appear most frequently, for the build¬ 
ings in which they exist or do not 
exist, I am at present only able to 


speak definitely, as regards one coun¬ 
try in Europe. As far as six months’ 
time would allow me I have made a 
complete survey and examination of 
all the mediaeval buildings in Italy. 
This country is, however, undoubtedly 
the one from which the given phe¬ 
nomena have spread, as far as North¬ 
ern Europe is concerned, and there¬ 
fore the one in which a systematic 
study of them should be first at¬ 
tempted. They are largely or promi¬ 
nently of Byzantine origin. 

Among these phenomena I will 
specify the following : 

(a) The construction of the piers 
and vaulting of many mediaeval 
churches in a delicate curve, some¬ 
times leaning into the nave, some¬ 
times bending back from the nave, 
and in either case making a delicate 
transition return curve to the arch 
of the vaulting (Fig. i). There are 
no publications extant known to me 
which specify this feature in mediae¬ 
val buildings. It easily escapes the 
eye, even when the observer is familiar 
with the fact and prepared to recog¬ 
nize it. The minimum amount of this 
deflection is about three inches, which 
means very delicate masonry adjust¬ 
ment. When noticed by modern 
architects it has, as far as 1 am aware, 
been referred by them to thrust of the 
aisle vault against the side of the piers 
supporting the nave vault or arch. I 
have naturally prepared myself with the 
evidence on this head before announc¬ 
ing this feature as a refinement in con¬ 
struction, and will mention here as one 
instance the case of the Cathedral of 
Vicenza, where there are no side aisles 
and where the curving piers face solid 
chapel walls over 20 feet deep. The 
curving pier is frequently met in North 
European cathedrals. 

(b) A refinement analogous to the 
last and probably the original and 
earlier form of it. Lt is nothing more 
or less than the survival of the classic 
entasis in the Middle Ages, and is 
found in the engaged half-columns 
which occasionally face the Roman¬ 
esque pier. There are good cases in 
the Cathedral of Fiesole, and in San 
Miniato, at Florence. The announce¬ 
ment of the classic entasis as existing 



KIG. I. — PISA CATHEDRAL NAVE. 

From a photograph of the Brooklyn Institute Survey. Showmg the delicate forward bend of a pier at the 

Transept. A plumb-line suspended from the gallery shows a defection of 3^ inches from the true perpendicular. 

See text for question of thrust. 


















































REFINEMENTS IN M EDI NIVA L ARCHITECTURE. 


T 


j 


MG. 2.—SANTA MARIA DELLA PIEVE AT AREZZO. 

From a photograph of the Brooklyn Institute Survey. Showing. an outward lean or spread of the piers in a 

delicate curve. 



in the Middle Ages has been received 
with surprise and incredulity by cer¬ 
tain gentlemen supposed to be experts, 
to whom I had made the fact known 
before collecting the evidence now in 
hand. I shall therefore assume the 
fact not to be generally known. I 
will simply add that 1 was taken last 
summer to see a case of the mediaeval 
entasis in San Giacomo, at Florence, 
by Prof. Giglioli, Director of the 
Natural History Museum of that city. 
Probably, therefore, I have not imag¬ 
ined it. (See Fig. 11.) 

(c) A refinement possibly or proba¬ 


bly derived from (a) and frequently 
connected with it ; a leaning outward 
and away from the nave of the nave 
piers, in phases grading from an exag¬ 
geration of the backward bend and 
continuing the curve, to othei s in which 
the leaning backward or spread of the 
piers is in a straight line and not in a 
curve. This feature has been errone¬ 
ously ascribed to thrust of the arch or 
vaulting by architects to whom 1 have 
mentioned it. There is a good case at 
Trani of this lean against the lines of 
transept walls thirty or forty feet d< ep. 
There are other cases of this lean 

































KIC,. 3 .-FACADE OF THK CATHEDRAL OF FERRARA. 

Fhotog'aoed by the Brooklyn Institute Survey to show the lean. 



























































REFINEMENTS IN MED I EE VAL ARCHITECTURE. 


9 


against solid ancient chapel walls, to 
which the pier is a facing, in San 
Eustorgio and in San Ambrogio, at 
Milan, and in San Francesco, at Pavia. 
It also occurs in St Mark’s, at Venice, 
and at Santa Maria della Pieve, at 
Arezzo (Fig. 2), under conditions 
which make a theory of thrust impos¬ 
sible. In the latter church the out¬ 
ward leans amount to about fourteen 
inches deflection in a given pier, mak¬ 
ing a spread of over two feet in the 
upper nave at the springing of the 
arch. They are recognized as facts 
of construction by the local experts, 
who are not, however, aware of the 
existence of this spread elsewhere. 
They are known at Arezzo simply as a 
local mystery without analogies. There 
are other cases where thrust cannot 
be even suggested (by one who has 
examined the masonry), and I do not 
know of any case where thrust can be 
proven or indicated except in the 
unfinished part of the Siena Cathedral 
where an original curve has been 
exaggerated by a thrust, due to non¬ 
completion of the building. Cases 
can be shown in St. Mark’s, at Venice, 
where the leans in the exterior vesti¬ 
bule and within the church are in 
opposing directions in one and the 
same wall, showing thrust to be 
impossible. 

(d) A system of bends in vertical 
lines in the exteriors of fagades and 
choirs, differing from some of the in¬ 
terior pier bends in the fact that the 
lower part of the bend is always a for¬ 
ward lean toward the eye facing the 
wall, and never, as often in the case 
of the interior piers, a backward lean 
beginning at the base (as regards the 
eye of a spectator in the nave facing 
the pier). The maximum cases of the 
forward lean are about fifteen inches. 
There is a fine instance in the Pisa 
Cathedral fagade erroneously ascribed 
by Ruskin in the Seven Lamps to settle¬ 
ment. A number of corroborative 
cases have been carefully examined 
for indications of accident (Fig. 3.) 

The considerations regarding a set¬ 
tlement of the Pisa fagade will be 
gone into at length. I first announced 
this lean to be a fact of construction 
in 1874. The measurements in detail 


of 1895, taken up to and above the 
first cornice, are conclusive as to 
masonry construction. These meas¬ 
urements compel the assumption of a 
double settlement, if any took place, 
one sideways and one forwards, and 



FIG. 4.—MASONRY OK THE BARCELLO 
TOWER, FLORENCE. 

Showing a constructed lean. Photographed 
by the Brooklyn Institute Survey. 

when the theory of a double settle¬ 
ment is applied to the fagade cornice 
the levels taken by Mr. McKecknie 
show that the fagade must have settled 
laterally in opposite direction j at one and 
the same time. The difficulties of the 
sceptic who asserts settlement for the 











io 


THE ARCHITECTURAL RECORD. 



FIG. 5 —THE CURVE AT TRANI. 

It extends down to the supporting columns and their bases, showing thrust to be impossible. Photographed by the 

Brooklyn Institute Survey. 


Pisa facade are destined in the future 
to be somewhat amusing. 

The survey of the south wall, near 
the angle of the facade, compels one 
theory of settlement for the stripes of 
the masonry, another theory for the 
pilaster capitals, another theory for 
the arcades, another theory for the 
cornice and another theory for the 
masonry above the cornice. What 
has misled Mr. Ruskin and many 
another investigator is a deceptive 
bend in the masonry stripes for which 
many analogous cases can be cited in 
Byzantine construction. 

(e) Occasional cases of leans in cir¬ 
cular buildings or towers which are 
not due to accident, and tending to 
raise a question as to others in which 
the evidence for accident is not clear, 
but simply presumptive, and based on 
the supposed improbability that any 
building made by common-sense mor¬ 
als should be unlike those made by 


nineteenth century common-sense 
mortals. Positive cases of lean by 
construction are the Papiistery of 
Pisa, the Bargello Tower at 
Florence (Fig. 4), and the Torre del 
Publico ot Ravenna. (The intention 
in the case of the Leaning Towers at 
Bologna is, up to date, the only case 
conceded.) Two cases of leaning 
towers in Pisa exhibit curves toward 
the perpendicular which are analogous 
to the curves of the leaning fayades. 

(/) Curves in plan of horizontal 
cornice lines. Many correspond in 
delicacy to those known for antiquity 
(see Architectural Record for 
April, 1895), and I am positive that 
they are a classic survival. A very 
fine case, where thrust is wholly out of 
question, is the cloister of the Celes- 
tines at Bologna. It is the exact 
counterpart of the court at Medinet 
Habou as regards use and place of the 
curve (see Architectural Record, 


























REFINEMENTS IN MEDIALVAL ARCHITECTURE. 


ii 



Fill. 6.—ARCHES OF THE FIESOLE CATHEDRAL. 

Photographed by the Brooklyn Institute Survey. The maximum diminution in spacing toward the choir is about 

eight fee-. 


April, 1895). Many other cloisters to 
be quoted. 

(g) Curves in plan in the alignment 
of columns and in clerestory walls 
(see Fig. 5) will be specified in detail. 
Good cases at Fiesole, Genoa. Trani, 
Ravenna (San Apollinare Nuovo), 
etc. These curves degenerate in 
the later Middle Ages into bends 
which may easily be ascribed to care¬ 
less building, when considered as iso¬ 
lated cases. Such bends are more 
probably careless constructions of the 
earlier and more regular curves. 

(/i) Curves in elevation. There can 
be no suggestion of thrust for curves 
in elevation. There can be no sugges¬ 
tion of carelessness for an exact and 
regular curve in elevation. There can 
be no suggestion of accident for 
curves which are invariably curves 
convex to the sky line. If accidental, 
why are not some curves concave to 
the sky line? The announcement that 


many wholly regular curves, both in 
plan and in elevation, corresponding 
in delicacy to those of Greek art, 
are found in Italy will excite scepti¬ 
cism and derision. I am prepared to 
meet both, and to furnish the evi¬ 
dence. A good case for a curve in 
elevation is the alignment of the 
plinths supporting the columns in the 
north aisle of the Pisa Cathedral. The 
chances of accident in this arrange¬ 
ment are 3.628,800 to one against 
accident. 

(i) A refinement which consists in 
increasing the size of the arches near 
the main entrance of the church and 
diminishing either space, or height, or 
both, in the direction toward the 
choir, thereby giving to the building 
an effect of greater dimension. The 
eye is disposed to take a large bay 
near at hand as the standard of size 
for all the others. Over thirty different 
churches in Italy can be specified for 













12 


THE ARCHITECTURAL RECORD. 


this phenomenon. There is a good 
case in the Cathedral of Fiesole 
(Fig. 6). Aside from announcements 
which I have previously made, there 
is so far no publication of the fact 
that these perspective illusions were 
common in mediaeval Europe. It was 
suggested by a New York architect 
many years ago to whose attention 
I had brought certain cases of this 
peculiarity in Northern Europe that 
the narrowing of arches toward the 
choir was designed to strengthen the 
church under the dome or against 
the arches of the transept. I shall, 
therefore, take pleasure in publishing 
a list of Basilicas having this peculi¬ 
arity which have no transept, and 


[k) A refinement which consists in a 
pavement sloping upward toward the 
choir, nearly always with arches and 
capitals brought down to the horizon¬ 
tal level, and sometimes with capitals 
and arches brought below the hori¬ 
zontal level. The effect in either case 
is one of perspective illusion. I can 
specify eighty-five cases of this phen¬ 
omenon for Italian churches. The 
slope varies from three or four inches 
to over three feet. The church of 
Santa Maria Ara Coeli at Rome, the 
Capella Palatina at Palermo, the Cath¬ 
edrals of Siena and Orvieto are 
among tnis list. This phenomenon 
has been overlooked by all publica¬ 
tions up to date, as far as known to 



choir- 


fig. 7 .—SAN 1'IETFO AT ASSISI. 

Section showing a drop in arches of 2.60 (feet and decimals) and pavement rising 1.70. Survey and drawing 
by John W. McKecknie for Brooklyn Institute Survey. 


another list of churches in which the 
span narrows in the cho>ir away from 
the dome or the transept arch. 

(j.) A refinement analogous to the 
last but applied to the second of the 
two transverse arches which span the 
nave of a church at the junction with 
the transept. By dropping this second 
arch below the level of the first a con¬ 
siderable increase of perspective is ob¬ 
tained. There are good cases of this 
scheme in the Cathedrals of Siena 
(drop of five feet), Piacenza (drop of 
four feet), and Pisa (drop of three 
feet), and in Santa Maria Novella 
at Florence (drop of two feet). There 
are no extant publications of these 
facts. 


me. I can specify many interesting 
cases of oversight on the part of 
persons known to me of this pecu¬ 
liarity. There is no reason why it 
should not be noticed by tourists for 
pleasure as easily as by experts, but 
it seems to have escaped the notice 
of both classes. This fact is quoted 
for the Egyptian temples, and in them 
is supposed by Egyptologists to have 
the purpose of perspective illusion. 
The evidence to be submitted tends 
to show early Christian and Byzantine 
origin, as usual in all these re¬ 
finements. The sloping pavement can 
be dated to the fifth century in San 
Sabina, at Rome. 

(/) A refinement which consists in 











































REFINEMENTS IN MEDIALVAL ARCHITECTURE. 


*3 


converging the walls of the church or 
the piers and walls of the nave in 
the direction of the choir. (Fig. 8.) 
Five cases are known to me in Italy. 
None have been previously noted by 
publication for Italy, but one case is 
already known by publication for 
Northern Europe. It is the Cathedral 
at Poitiers mentioned by Fergusson. 
The maximum case of convergence is 
in San Stefano at Venice, whose walls 
narrow in toward the choir twenty- 
three feet in a length of one hundred 
and thirty-three feet. 

(;«) A refinement which consists in 
building the church with an oblique 
or twisted plan, so regulated as to 
mystify the eye as to the proportions 
of the building and without reveal¬ 
ing itself as an obtrusive fact. Of 
all the phenomena quoted the one of 
a deflected choir is the only one so 
far known to science. There is no 
evidence in Northern Europe to sup¬ 
port the view that a deflected choir 
represents the bending of the head of 
Christ on the Cross. On this point 
of lack of evidence see Notes and 
Queries. The idea that a deflected 
choir represents the bending of the 
head of Christ on the Cross may be 
a fancy of modern sentiment, or it 
may be a tradition springing from the 
explanation of some mediaeval builder 
who found it inconvenient to give his 
true reason. The evidence which I 
have collected in Italy antagonizes 
this explanation, because there is no 
trace of this tradition in Italy, be¬ 
cause the phenomenon appears in 
many churches which have no tran¬ 
sept and which consequently do not 
represent the Cross (see Fig. 9), be¬ 
cause there are cases in which there 
is no bend or deflection of the plan, 
but only an obliquity of the whole 
plan, and other cases where there is 
obliquity and where one side of the 
church is longer than the other, but 
no bending of the choir, and because 
these cases merge into others which 
simply show the curve in plan of 
columns or clerestory walls (one or 
both), which is the earliest dated 
phase (sixth century at Ravenna). In 
other words, the deflected choir of 
Northern Europe is only one phase of 


a wider fact, which no doubt also has 
many Northern illustrations (some of 
which are already known to me). I 
have collected thirty-six cases of these 
curious plans in Italy, and many of 
them have been carefully surveyed. 
Good instances are found at Arezzo, 
Bari, Toscanella, Viterbo, Cremona, 
etc. Nearly all are oblique from the 
fagade as distinct from churches with 
a deflected choir. 

( n ) There are many phenomena 
which are most easily classed under 
the general heading of symmetro- 
phobia, or dislike of mathematical 
symmetry. This designation has the 
advantage of avoiding optical theories 
or optical explanations, and may be 
applied to many facts already cited 
under foregoing heads if other ex¬ 
planations offered, or to be offered, 
should not satisfy the reader. This 
designation may be applied, for in¬ 
stance, to the oblique or twisted 
ground plans by any one wishing to 
preserve an agnostic attitude as to ex¬ 
planations of curious facts. Mr. Rus- 
kin’s conception of “life” in mediaeval 
building is preferable to the concep¬ 
tion carried by the term “symmetro- 
phobia,” which implies a negative 
attitude on the part of the mediaeval 
builder, whereas all the motives which 
tended to give variety to a building by 
discarding symmetry tend also to this 
effect of “life.” Some cases, like the 
bent column at Arezzo (Fig. 10), seem 
to be pure svmmetrophobia. As I have 
a long list of phenomena for later 
description, which have not been cited 
by Mr. Ruskin, and which do not come 
under any of the classes so far men¬ 
tioned, we will use the word “ sym- 
metrophobia ” provisionally to desig¬ 
nate them. This word, by the way, is 
not one of my own coinage, as has 
been supposed by some. It has long 
been applied to the irregular features 
of Egyptian temples (for example, at 
Philae), and originated in Egyptology 
or with persons interested in it. 

IV. 

The foregoing schedule, in spite of 
its length, is wholly tentative and pre¬ 
liminary. It is a condensed state¬ 
ment needing much elaboration and 



FIG. 8.—GROUND-PLAN OF SAN STEFANO AT VENICK. 

The walls narrow in 23 feet in 133 feet. The nave narrows in 16 feet. Survey and plan by John W. McKecrttnie 

for Brooklyn Institute Survey. 
















FIG. 9.—GROUND-PLAN OF SANTA MARIA DELLA PIEVE AT ARFZZO. 

■ Survey and plan by John W. McKecknie for Brooklyn Institute Survey. The church is deflected 15 feet from the 

normal line. 
























































i6 


THE ARCHITECTURAL RECORD. 


development, and is a mere hint of the 
actual facts, which have to be specified 
for about one hundred and thirty-three 
churches, many of which need careful 
description and all of which need very 
abundant explanations in rebuttal of 
suggestions of accident, carelessness, 
indifference and the like. 

This schedule is, however, suffi¬ 
ciently definite and explicit to permit 
of my announcing the general main 
fact of what I conceive to be an epoch- 
making discovery in the study of 
mediaeval architecture. As distinct 
from views hitherto held by the most 
enthusiastic students of the Middle 
Ages, I shall be able to prove that, 
apart from the beautiful variations of 
detail due to artisan skill, and apart 
from the picturesque effects of gen¬ 
eral organism due to a noble contempt 
for mechanical regularity, there was in 
mediaeval building a definite system of 
optical and perspective illusion very 
largely, but not universally, practiced 
—a definite system of very subtle cal¬ 
culation of optical effects—a definite 
system of masonry refinements —and a 
definite system of survivals of some of 
the most remarkable architectural re¬ 
finements of classic antiquity. I shall 
be able to prove, moreover, that the 
facts, in so far as they are made mani¬ 
fest for Northern Europe, move from 
Italian influence; that in Italy they 
move from the Italo-Byzantine cen¬ 
tres, and that the facts are most nu¬ 
merous for the period and buildings of 
the Byzantine-Romanesque. Dates are 
established for the curves, the sloping 
pavements and the converging walls 
which carry them back to the earliest 
extant buildings of Christian archi¬ 
tecture. 

The germ of these discoveries goes 
back to measurements which I made 
at Pisa in 1870, and which were pub¬ 
lished in Scribners Magazine for 
August, 1874, under the title of “A 
Lost Art.” 

I claim that the study of mediaeval 
architecture stands to-day where that 
of the Greek temples stood before the 
discoveries of the Greek architectural 


refinements by Pennethorne, Hoffer 
and Penrose. It is well known that 
all the studies of mediaeval architect¬ 
ure lie wholly within the limits of 
our own century and that they date 
mainly after 1825 or later, whereas 
those of the Greek temples date 
from the middle of the eighteenth 
century. I have shown in The Record 
article already quoted that the Par¬ 
thenon had been surveyed and care¬ 
fully examined during nearly a cen¬ 
tury, before the discovery of its 
curves, leaning faces, irregular spac- 
ings, and other optical refinements, 
which were first published by Penrose 
in 1851. The beginning of the study 
of mediaeval cathedrals is, as a matter 
of fact, fully seventy-five years later 
than the beginning of the study of 
Greek temples; and if, in the last 
years of the nineteenth century, we 
are still ignorant of some of the most 
interesting traits of many important 
cathedrals, we are only repeating the 
experience of history that discoveries 
come gradually, and that the wisdom 
of all the ages has not been conquered 
in a day. 

That the attainments of past ages 
have been forgotten and lost sight of 
and have had to be rediscovered is no 
unfamiliar thing. A most telling in¬ 
stance is that of the Greek refine¬ 
ments just cited whose existence had 
disappeared from the memory and ap¬ 
parently from the records of man until 
once more brought to light in the 
nineteenth century. • 

The success of the Survey in Italy 
was much indebted to the favorable 
disposition of the Italian Ministry of 
Public Instruction, as represented by 
Signor Ricchiardi. I obtained from 
him the extraordinary favor of a carte 
blanche permit to take measures and 
photographs in church interiors 
throughout the country, and to photo¬ 
graph in all Government museums. 
For this concession I have to be grate¬ 
ful, in the first instance, to the in¬ 
fluence of the Smithsonian Institution, 
as represented by Professors Langley 
and Goode. 


(To be Continued.) 


JVm. H. Goodyear. 


Brooklyn Institute of Arts and Sciences. 


Department of Fine Arts 


ILLUSTRATED CATALOGUE 

OF THE 

Goodyear Collection of Photographs 

OF 

ITALIAN ARCHITECTURE AND SCULPTURE, AND OF THE 
SURVEY OF ITALIAN MEDI/EVAL BUILDINGS. 


The Original Observations, Choice of Subjects and Catalogue Text by 

Professor Wm. H. Goodyear. 

The Negatives, Prints, Bromide Enlargements, and Cartoons of the Survey by 

MR. JOHN W. MCKEQKNIE. 


BROOKLYN: 

Eagle Book and Job Printing Department. 







CATALOGUE 


OF THK 


GOODYEAR COLLECTION. 


Part I. of this Catalogue consists of advance sheets from the July number 
of the Architectural Record Quarterly Magazine, supplied through the courtesy 
of the Editor, Mr. Henry W. Desmond. 

Part II. of this Catalogue consists of a prefatory account of the Brooklyn 
Institute Survey of Mediaeval Italian Buildings, carried out May-October, in¬ 
clusive, 1895, and of the classes of artistic and archaeologic subjects photo¬ 
graphed in Italy for the Institute Collections. 

Part III. of this Catalogue specifies the groups and individual numbers of 
the photographs and of the cartoons of'the Survey. 

Very special acknowledgments are due to the Smithsonian Institution, as 
represented by its chief, Prof. Langley, and by Professor G. Brown Goode, 
Director of the National Museum, for letters under seal of the Smithsonian In¬ 
stitution to the Italian Ministry of Public Instruction, which secured the favor of 
a carte blanche photographing permit in all the Museums and churches of Italy. 
This privilege has been recently refused to the application of the American 
Embassy, as the government rule requires special application to each local 
authority. 


PATRONS OF THE BROOKLYN INSTITUTE SURVEYING 
AND PHOTOGRAPHING EXPEDITION TO ITALY. 


The Trustees of the Brooklyn Institute in general and the following 
individual subscribers : 


Abram Abraham, 
George C. Brackett, 
Gen. C. T. Christensen, 
S. B. Chittenden, 

Carll H. DeSii.ver, 
William Dick, 

Howard Gibb, 


Franklin W. Hooper, 
Joseph C. Hoagland, 
Aaron Healy, 

A. A. Low, 

E. H. R. Lyman. 
Josiah O. Low, 

Henry W. Maxwell, 


George L. Morse, 

Henry E. Pierrepont, 

Mrs. Caroline H. Polhemus, 
Thomas Prosser, Jr., 
Henry K. Sheldon, 
Frederick A. Schkoeder, 
♦John B. Woodward, 


Robert B. Woodward. 


’Deceased 





PREFACE. 


An arrangement was made in the Spring of 1895 between the Brooklyn 
Institute of Arts and Sciences and Professor Goodyear, according to which 
the latter undertook to pay his own expenses in Italy for a period of five 
months, and to give the Institute the benefit of his time and experience in the 
matter of selecting photographic subjects for its future collections. The 
Institute undertook to pay the expenses of a scientific photographer and sur¬ 
veyor in the person of Mr. John W. McKecknie, and was to own all negatives 
taken, up to the number of 600, to have credit for all use made of the same 
in the way of publication or otherwise, and to have credit for supporting a 
survey of mediaeval Italian buildings. 

One purpose of the expedition was to photograph any artistic or archseo- 
logic subjects whose rarity, beauty, unusual value, or educational importance 
seemed to make them worthy of selection. In the original 8 x 10 negatives 
the choice of the artistic and archaeologic subjects was generally directed by 
the advisability of avoiding those which are already either familiar to tourists 
in Italy, or in any way obtainable by purchase there ; excepting in cases where 
the effort has been to make a series whose educational value consists in a com¬ 
pleteness not hitherto achieved or attempted. This latter point of view applies 
to the sets from the Naples Museum and from the Baths of Pompeii, and will 
be best appreciated by examining the 8x10 prints, which are three times as 
numerous as the bromide enlargements. 

In the choice of mediaeval architectural subjects the effort has been to 
photograph fine details from localities which are rarely visited, such as Troja 
and Toscanella, or to obtain negatives available for enlargement of fine details 
from better known localities, such as Lucca. In so far as either the exteriors 
or interiors of entire buildings are concerned, there are many photographs from 
buildings already accessible to photography, but there are none from such 
buildings which are not taken either from fresh points of view or under condi¬ 
tions of scientific accuracy never heretofore attempted for Italian buildings. 
All these last-mentioned photographs relate in one way or another to the inter¬ 
esting subject of irregularities and masonry “refinements” in mediaeval archi¬ 
tecture, a subject which has never heretofore been systematically and scientif¬ 
ically examined, and which it was the purpose of the Survey to bring before 
the public. Many of the most important and remarkable pictures devoted to 
this topic are confined to the 8x10 prints. The choice of bromide enlargements 
has been largely controlled by the perfection of the negative and the attractive 
or popular interest of the subject. 

The cartoons of the Survey represent only a small part of the labors and 
results of the expedition in the matter of surveys and measurements, and these 
will be matter for future publication. 



20 


CATALOGUE OF 


All cartoons and photographs have been personally made by Mr. John W. 
McKecknie. With rare exceptions no photographs are exhibited which were 
not personally made by him. In five or six cases negatives were made in Italy 
after the termination of Mr. McKecknie’s stay in Italy, Prof. Goodyear having 
remained a month longer to complete the Survey. The following list specifies 
the groups and classes of subjects. 

The views from the Naples Museum belong to a class already familiar to 
photography, but there has hitherto been no attempt to include all the galleries 
of the Naples Museum in one series in such a way that the extent and character 
of all its collections may be understood at once by those who have not enjoyed 
the opportunity to visit Naples. The enlargements from this set are chosen on 
account of their rare photographic perfection. 

Another series is wholly unique. Not more than three or four views of the 
Baths of Pompeii are obtainable in the shops of Naples. It appeared desirable 
to give a complete and connected view of all the apartments in the Baths of the 
Forum and of Stabiae. Hence a series of pictures, of which only three or four 
are taken in those parts of these Baths which have been chosen for views by 
other photographers. None of these are represented by enlargements. 

There are no detail photographs for sale in Italy of the stucco decorations 
of Pompeii, and such details have therefore presumably never been photo¬ 
graphed before. The collection contains a set of 8xio, from which we offer 
several enlargements. The beauty and novelty of these details will speak for 
themselves. They are not works of famous artists but were made by the day- 
laborers and ordinary artists of Pompeii. 

Another series of charming stucco relief had never been photographed in 
details up to the time of our 1895 visit to Italy. We learned in Rome that it 
was under consideration to have them photographed, but the set here exhibited 
is the first one ever made. It is wholly from the decorations found in recent 
excavations on the grounds of the Farnesina Villa at Rome, now in the Museum 
of the Baths of Diocletian. Most of these are shown by enlargements. 

The photographs from the Greek ruins of Paestum and of Sicily are the first 
ones ever taken of the given buildings to show the Greek architectural refine¬ 
ment of curving the horizontal lines of their temples. So far, the only photo¬ 
graphs of the Greek curves are those taken by Mr. Stillman, at Athens, some 
years ago. 

The subjects from the Etruscan Museums of Perugia and Chiusi are all 
new to photography. It will appear surprising that these photographs are not 
obtainable in Perugia when the artistic beauty of the originals is considered, 
but Italy is rich in neglected treasures and these have been among them. The 
photographs from the Etruscan Museum of Volterra are almost wholly from 
subjects not hitherto taken. There are many rare subjects from the three 
Etruscan Museums named which are confined to the Sxio series and not 
represented by enlargements. 

There is at present only one series of photographs obtainable in Italy for 
the territory of Lucania and S. E. Italy. This Italian series does not include 
the capitals from Ruvo and Troja. The latter are the finest work of the kind 
known to the writer from all mediaeval Italy. As survivals and continuations 


GOODYEAR COLLECTION. 


2 I 


of classic quality in mediaeval art the capitals from Troja are wholly unrivalled. 
One of these capitals would be pronounced by every expert to be an ancient 
classic piece were it not for the equally fine work in its two fellows, which have 
unmistakable mediaeval peculiarities. The bronze doors of the Troja Cathe¬ 
dral are unrivalled in all mediaeval Europe. The details from Bari are also 
remarkable. 

The series of photographs from Toscanella is of rare interest. Toscatiella 
is about three hours’ carriage ride from Viterbo, and is rarely visited. The 
fapade of San Pietro, at Toscanella, is one of the most remarkable in Italy. 
The details from this fapade are the first ever taken, and are not obtainable in 
the only Italian series which includes Toscanella. 

From a passing mention of the fine architectural details of the fapades of 
San Michele and San Martino, at Lucca, we turn to the photographs illustrating 
architectural refinements, and the cartoons of the Survey connected with them, 
which are best explained by the advance sheets of an article from the Archi¬ 
tectural Record Quarterly Magazine, which are bound up with the catalogue, 
and by the notes connected with the individual numbers. Some account of 
the arrangements ensuring absolute accuracy in these photographs is, however, 
important. 

Mr. McKecknie’s preparations for the trip included, besides the usual para¬ 
phernalia of the architectural surveyor, a camera designed to secure absolutely 
mathematical accuracy in the photographs to be made of architectural phe¬ 
nomena. Some of its peculiarities were especially designed by him, and it is 
believed that some of them have never before been applied to scientific pho¬ 
tography. The ordinary photograph often represents the interior of a Cathedral 
with the rising lines distorted by tilting the plate. Diverging, or spreading, or 
curved lines, in the piers of the nave, are under such circumstances not correctly 
represented, by the photograph. As it was our purpose to test churches for this 
peculiarity, a camera was procured with an unusually long “ swing-back,” for 
keeping the plate vertical in reaching to high altitudes. It was also provided 
with a level and compass. The compass was intended to secure the taking of 
photographs in absolutely true parallel perspective, which in the case of hori¬ 
zontal curves or other masonry obliquities is essential to proper accuracy of 
illustration. In the photographs designed to represent masonry distortions 
having an optical effect, it was of course necessary to eliminate not only all the 
distortions usually found in photographs, but also those due to perspective. 
The level made it feasible to test by photography, as well as by the eye ,or by 
plumb, all deviations from the perpendicular line. The lenses were specially 
selected for absolutely rectilinear accuracy. 


PHOTOGRAPHS AND CARTOONS ILLUSTRATING MEDIAEVAL 

OPTICAL REFINEMENTS. 

It is not, generally speaking, the mission of this catalogue to give reasons 
explaining the architectural phenomena illustrated, although they may be sug¬ 
gested in some cases. Reference is made on this head to an aiticle published 


22 


CATALOGUE OF 


in Scribner’s Magazine for August, 1874, entitled “A Lost Art, ’ to an article in 
the “Architectural Record ” for April, 1895, on the “Origin of Greek Curves ” 
and to the article bound in with this catalogue. 

There is, however, one important caution to be noted by students of these 
photographs and cartoons. They relate to the originals as a Muybridge photo¬ 
graph of a running horse or a walking man relates to our apparent perception 
or vision of this motion. We do not see the horse run as the Muybridge photo¬ 
graph proves that he really runs. Neither do we see these buildings as these 
photographs prove them to be made. A photograph fixes immovably an obli¬ 
quity, curve, or irregularity from one given point of view, whereas the eye is 
constantly in motion and insensibly or unconsciously translating these irregu¬ 
larities into optical effects of various descriptions. 


VERTICAL CURVES AND VERTICAL LEANS. 

1 Photograph of the bend or curving line found in the transept piers of the 

Pisa Cathedral. A line hanging by a stick from the gallery shows the 
delicacy of this curve, which has a deflection of only three and one-fourth 
inches. This is the first photograph ever taken especially to illustrate 
the fact of this refinement, which is, however, a frequent appearance in 
Mediaeval cathedrals. When hitherto noticed this bend has been attri¬ 
buted to thrust. Proofs to the contrary are now forthcoming, and are 
especially strong in the Cathedral of Piacenza, where this curve occurs 
in piers facing solid walls twenty feet deep. Mediaeval churches having 
this curve in the piers are numerous in Northern Europe, as well as in 
Italy. Among the Italian instances are the Cathedrals of Pavia, Cremona 
and Siena and the church of San Ambrogio at Milan, 
la The same piers and their curving line shown by a view taken from the top 
of the High Altar. The Baptistery is seen through the open door. 

2 Interior of the Cathedral of Cremona showing a similar bend in the piers. 

3 Photograph from the Cathedral of Fiesole. The survival of the classic 

entasis in Mediaeval architecture is seen in the half-column facing the 
pier. In spite of the inferior quality of the photograph it is one of the 
most important and represents the first publication of the generally un¬ 
known fact of this survival. The curving pier, as seen at Pisa, is proba¬ 
bly derived from such an entasis. 

4 Cathedral of Perugia—a case of the spreading piers-(piersleaned backward 

from the nave) occasionally found in Mediaeval architecture. A pheno¬ 
menon so far ascribed to thrust, in so far as observed. The following 
cases and several others are verified by the Survey as not due to thrust. 

5 St. Mark’s at Venice. Showing a spread in the piers (piers leaned outward 

in the nave) verified by the Survey as not due to thrust. The individual 
leans are over a foot deflection from the vertical. 

6 Santa Maria della Pieve, Arezzo, showing a spread, or outward lean, in the 

piers, each leaning over a foot. Verified by the Survey as not due to 
thrust. Also so recognized by the local experts of Arezzo. 


GOOD YEA R COLL ECTION. 


23 


7 Cathedral of Trani, showing a spread of the piers at the transept, verified 

as not due to thrust. 

8 Drawing of the interior of San Stefano at Bologna, showing a spread of 

walls and piers, verified as not due to thrust. 9 Photograph of same. 

10 Leaning facade of the Cathedral of Ferrara. Among other important cases 
are San Michele at Pavia, San Ambrogio at Milan and the Cathedral of 
Pisa. These leans bend back toward the vertical, are similar to the 
bends of No. 1, and are frequently as delicate ; for instance, in San 
Nicolo at Bari. Proofs for constructive intent are supplied from San 
Michele at Pavia and from Pisa. The lean at Ferrara is estimated by 
the Survey at about nine inches. 

11, 12 South and north walls of the Pisa Cathedral, showing deflected ma¬ 
sonry stripes bent down at the fifth bay and yet entering the facade 
piers at a right angle. Thus, the obtuse angle of stripes at the fifth bay 
measures the forward lean of the facade. The direction of the stripes, 
as bent at the fifth bay, proves that if the facade leans as a result of 
settlement, the settlement must have begun as far back as the fifth bay, 
and must have included the whole front part of the building on both 
sides as far back as this bay. Examination of the masonry of these bays 
over the stripes, and measurements taken to its different features, such 
as main cornice, pilaster capitals and arcades, show that their irregulari¬ 
ties are not due to settlement, for the cornice rises and the arcades drop 
downward. The pilaster capitals drop downward, but more abruptly 
than the arcades, while both the arcades and the capitals drop down at 
angles differing from those of the stripes. The resulting conclusion is 
inevitable, that all these irregularities are due to masonry construction. 
Moreover, if the front of the building settled, it must be conceded from 
the cornice measurements that the settlement ceased before the cornice 
was reached by the masons. If so, all the original plinth masonry of the 
fayade must have sunk into the earth 8 to 15 inches before the first cornice 
was reached by the masons, and if so, all this masonry must have been 
taken out and replaced by the present masonry of the plinth line and 
base courses to the extent of 8 to 15 inches ; but when a survey is made of 
the irregularities of the fayade itself, we find another series of irregulari¬ 
ties as regards the height of the columns and main cornice. These are 
fourteen inches wider apart at the south angle than at the north angle. 
Hence we are obliged, on the theory of settlement and masonry substi¬ 
tution, to formulate a new series of theories of lateral settlement, and 
these are found to contradict the theories as to settlement at the 
angles, which would be made necessary by the measurements of the side 
walls. In other words, all the obliquities and leans must be considered 
together, as all related to settlement, or as all existing in masonry 
construction. When so considered, masonry construction will demon¬ 
strate itself, and the settlement theory will shipwreck itself. 

13 Pisa Cathedral fayade, photographed in parallel perspective, to show its 
lateral irregularities. The first cornice rises 7 inches to the south and 
the capitals drop 7 inches to the south, as measured to the pavement. 


2 4 


CATALOGUE OF 


Still another argument is obtained as to these lateral irregularities from 
the levels taken on the first main string-course of the facade and on the 
interior gallery on the same level and forming part of the same wall. 
These levels prove that if the facade settled laterally, there were two 
settlements in contrary directions at one and the same time, which is 
absurd. The pavement itself slopes down ten inches to the south. 

We have thus reached the conclusion that the entire front of one Mediaeval 
building was purposely built out of the vertical line. This is the most im¬ 
portant observation ever made on the subject of leaning buildings in Italy, 
and recalls the direction of Vitruvius regarding the fayades of ancient temples 
that they should be inclined forward from the perpendicular. It must be 
remembered that this lean bends or curves back to the vertical. The 
maximum lean amounts to about 15 inches. 13a shows the lean at S. W. angle- 
14, 15 Photographic details from the S. W. and N. W. angles of the Pisa 
fayade to allow inspection of the masonry. The fresh masonry of the 
fifth bay of the south wall is revealed by the color. This dates from a 
recent repair and does not affect the question of settlement. The only 
possible theory of settlement must assume settlement before the first 
cornice was reached and consequently must assume an ancient repair of 
the masonry as old as the building itself. Appeals to modern masonry 
repair have therefore no point. The foundations at the N. W. fayade 
angle are intact ancient masonry as old as the building (see No. 15.) 
This establishes the ancient plinth line, which is elsewhere modern repair 
all around the building, but only for the first two or three courses. 

16, 17 Sketch of the fayade masonry from San Michele at Pavia, showing facts 
similar to those which hold for the Pisa fayade. The cutting of the indi¬ 
vidual masonry blocks proves a constructed lean. By plumb this 
amounts to about eleven inches. 

18 The Baptistery of Pisa, photographed to show its lean toward the north¬ 
east. Taken from an upper gallery of the cathedral. 

Survey and levels for the foundations of the Pisa Baptistery, prov¬ 
ing a lean by constructive intent. Original survey made in 1870, 
verified in 1887, and still more accurately verified by levels in 1895. 

20 Sketch of the Torre del Publico at Ravenna, showing a constructed lean. 

21 Masonry courses of the Bargello Tower at Florence, showing a constructed 

lean. 

22 The Leaning Tower of Pisa. The foregoing numbers, 4-20 inclusive, are 

important circumstantial evidence for the constructed lean of this Tower. 
As is well known it has long been a debated point whether the Leaning 
Tower of Pisa is a constructive or accidental fact. The Tower also 
curves back toward the vertical (this is best seen from a more westerly 
point of view). This seems to explain the story dating from Vasari’s 
Lives of the Artists (16th cent.), that the Tower gradually sank and was 
gradually built up to the vertical during its construction. A more 
improbable story was never invented ; if the interest of the masons in 
their own lives be considered. It is certain, however, that the Tower 
settled, if at all, during construction and not afterward. This photo- 


GOODYEAR COLLECTION. 


25 


graph is the first one ever taken to show the well in which the Tower 
stands, and was made by Mr. McKecknie on a ledge about three feet 
wide on the upper exterior gallery of the cathedral choir. 

It must be noted that two towers in Bologna are already conceded 
to lean by construction. 

The numbers 1-22, inclusive, all relate to inclinations, or deflections, 
of vertical lines from a true perpendicular. It is a tentative conclusion 
of the author of the Catalogue that the more extreme cases, like the 
Leaning Tower of Pisa, are later evolutions and exaggerations of a much 
more delicate system of leans and bends prevalent in Italo-Byzantine 
building, such as No. 1, of which many additional examples can be 
given outside the limits of this catalogue. These more delicate leans 
and bends were certainly masonry refinements, dictated either by 
picturesque considerations, or by optical considerations, or by both. 
The fact that they have direct analogies in the Greek temples, whose 
purpose is still a matter of doubt, and in the directions of Vitruvius, 
whose purpose is also in doubt, leaves us free to present the facts to the 
world, without pretending to offer full explanation. The probability 
may, however, be considered fairly established that the more pronounced 
leans, like that of the Tower of Pisa, owe their existence either to cap¬ 
rice, or to a seeking for renown or fame by a tour de force , or to a very 
highly developed sentiment for the picturesque which has other remark¬ 
able phases of asymmetry. See for instance the crooked column of 
Arezzo, No. 172. 

23 Cathedral of Pisa, view showing the outward lean of the choir. Plumbed 

from the upper gallery it leans out fifteen inches, with a returning bend 
toward the perpendicular. 

24 Choir of the Pisa Cathedral, in parallel perspective. 

OBLIQUE HORIZONTAL LINES AND OPTICAL MYSTIFICATIONS 

IN SCHEMES OF SPACING. 

25 Survey of the south wall of the Pisa Cathedral, showing the measurements 

for the obliquity of the lower cornice, which is about two feet out of 
horizontal, dropping toward the transept. See also the plan with levels 
No. 28. This feature gives a direct perspective increment from many 
points of view and optical mystification from others. Compare the 
photographs 11, 12, 14, 15. 

26 Transepts of the Pisa Cathedral showing the drop of the cornices. 

27 Survey of the north wall, Pisa Cathedral ; similar facts. 

28 Ground-plan of the Pisa Cathedral showing levels of the central cornice 

and of the earth’s surface all around the building. This cornice drops 
continuously from fapade to choir. The ground-plan also shows the 
intercolumnar spacings of the interior and the spacings of the exterior 
arcades. In both lines of nave columns there is an increase of width 
from the facade up to the fourth bay, and a decrease in the following 



26 


CATALOGUE OF 


bays. On both exterior walls the first five bays, beginning with the 
faqade, are much wider than the following bays, and on both sides the 
bay next the transept is much wider than the one adjacent. These 
correspondences show a design underlying the irregular construction, 
either of an intentional avoidance of regularity for picturesque effect, or 
of an optical illusion, or a mixture of the two designs. 

29 San Paolo R.ipa d’Arno, Pisa. General view, showing the oblique plinth 

line of the north side wall. 

30 View in parallel perspective of the oblique plinth line of San Paolo Ripa 

d’Arno. (This photograph also shows a rising curve in the cornice, which 
is an optical effect of the curve in plan. See No. 132.) 

31 Survey of the oblique plinth line of San Paolo Ripa d’Arno, with levels of 

the surface and of the plinth. In the direction toward the transept the 
arches rise 1 ft. 20, as measured to the plinth, the plinth drops 2.40, and 
the earth’s surface drops 1.01. If the plinth settled, the arcades must 
have been originally 2.67 above level at transept, with a rising obliquity 
of that amount, as compared with arcades near the faqade. In other 
words, a theory of settlement obliges the sceptic to account for another 
obliquity more remarkable than the one he is trying to prove accidental. 
The remarkable case of asymmetry thus established has many analogies. 
The optical illusion which it creates is so remarkable that the surveyor 
could not believe in the accuracy of his level, and procured a new one at 
considerable expense to test the facts. One of the illusions produced is 
that the earth’s surface rises when it really drops. 

32 Cathedral of Troja. 

33 Survey of the south wall of Troja Cathedral ; showng a plinth line built 

to a level, an aisle roof line built obliquely (dropping from faqade to 
choir), a scheme of arcade spacings, increasing toward the choir in span 
and height, and a scheme of pilaster capitals decreasing in height in the 
same direction. This scheme of mystification is not detected by the eye, 
and is only made apparent by a survey. See Nos. 243-250 for views and 
details from Troja. 

34 Side wall of the Prato Cathedral having a similar scheme as regards the 

arches and the capitals. Arch span increases from faqade to choir (as 
far as the door). Capitals drop in the same direction. 

35 Side of San Michele at Lucca, in parallel perspective. Gallery arches 

narrow toward the choir. The columns have an entasis. There is a 
scheme in the spacings. See next No. 

36 Survey of the opposite side of San Michele at Lucca, showing the oblique 

and curved plinth line. Scheme of pilaster spacings, moving from the 
centre toward the angles (with one break in the scheme). Same scheme 
is found in 35. 

For photograph sighting on the curve of this plinth line and its 
masonry courses see No. 158. 

37 Photograph of one side wall of the church known as the Pieve Nuova, at 

Santa Maria del Giudice, near Lucca, viewed down the incline. 

38 The same, seen up the incline. This is the most remarkable case in Italy 


GOOD YEAR COLLECTION. 


27 


of building a plinth line to the earth’s surface, and is distinct from pre¬ 
ceding cases. 

39 Detail of the masonry of this wall taken with a plumb-line. 

40 Survey of this wall, showing a cornice line exactly level. (This speaks for 

the accuracy of the builders, wherever an effort to be accurate was made.) 
A curving scheme in pilaster capitals, and remarkable variations of 
pilaster spacing. 

41 Fa9ade of this church, showing accurate spacing of the arches each side 

of the door as regards dimension of corresponding arches. This argues 
intention for variations in the side spacings, as it proves capacity for 
accuracy. 

42 Photograph of the other side of this church. 

43 Survey of this wall, showing a cornice line exactly level, a method of build¬ 

ing to surface which differs from the other side, and remarkable irregu¬ 
larities or schemes in spacings and heights of capitals. 

OPTICAL ILLUSIONS IN CHURCH INTERIORS. 

The facts which follow are important as proving conclusively that certain 
kinds of optical deception were practiced in the Middle Ages. These facts are 
hitherto unrecognized. They react on our view of possible causes for the more 
subtle or less easily understood irregularities hitherto considered. 

The arrangements to be illustrated are calculated to increase the perspective 
effect of a church as viewed from the main entrance and looking in the direction 
of the choir. The large dimension of the first, second, or third bay will be 
generally taken as standard for the size of the more remote bays which have a 
smaller span. The schemes which are least easily detected and most effective, 
generally begin at the second or third bay. In still larger churches, like the 
Pisa Cathedral, the fourth bay from the entrance is the largest. In such cases 
the curve of the line of arches rising from the entrance and then dropping 
toward the choir is equally contributory to perspective effect and less easily 
detected than a uniform downward slant. 

44 Faqade of the church known as the Pieve Vecchia, at Santa Maria del 

Giudice, near Lucca. 

45 Survey of a section of this church. 

46 One bay of this church, showing the drop of the right capital. 

47 The interior of this church, showing how the perspective effect of above 

arrangements is discounted by the eye into a natural effect. 

48 Survey of San Pietro Somaldi, at Lucca. Arches drop toward the choir. 

The last bay again rises, and widens in span, as required for the greater 
space devoted to the choir. 

49 Interior of tlje above church with illusive effect discounted into per¬ 

spective. 

50 Survey of Santa Maria Bianca, at Lucca. Compare arches left and right 

of the pier. They drop toward the choir. 

51 Interior of the above church, showing the drop in arches. 


28 


CATALOGUE OF 


52 Survey of San Frediano, at Lucca, showing a delicate drop in the arches 
and capitals, and a successive stepping-up in the levels of the pavement, 
both contributory to perspective effect. 

53, 54 Interiors of this church. 

55 Photograph in parallel perspective of San Stefano outside the walls, at 

Pisa. The scheme here is too abrupt for subtlety, and represents the 
trick of a village builder. This is the most obvious scheme in Europe. 
It is known that in the eighteenth century the church was entered at the 
end near the smallest arch, but the present fagade is ancient, and has all 
indications of having been the ancient fagade of the church. 

56 Interior of the above church, which discounts the arches, as seen in 55, 

into perspective effect. 

57 Survey of the above church. 

58-59 Interiors of San Frediano at Pisa. 

60 Survey of San Frediano at Pisa, showing a much more subtle scheme similar 

to the foregoing. 

61 Nave of the Pisa Cathedral, looking toward the choir. In this view 

the drop of the arches on both sides, away from the entrance, may be 
detected by close inspection. 

See the ground-plan of the Pisa cathedral (No. 28), for the scheme 
of intercolumnar spacings, and the surveys of the gallery levels for the 
drops in line of arches (Nos. 62, 63). 

62 Survey of the north gallery levels, Pisa Cathedral. 

63 Survey of the south gallery levels, Pisa Cathedral. 

64 Survey of San Michele ai Scalzi at Pisa, showing a scheme in the interior 

similar to that of Troja exterior, No. 29. 

65 Plan of the Cathedral at Prato, showing a scheme in the span of the interior 

bays, and also showing the scheme of exterior arcade spacings (See 
No. 34). 

66 Interior of Santa Maria Novella at Florence. View which discounts the 

scheme of illusion. 

67 Separate bays of Santa Maria Novella, placed side by side to betray the 

scheme of illusion. The maximum diminution of pier spacings in this 
church amounts to thirteen feet. 

68 Section of Santa Maria Novella at Florence, showing scheme in spacings. 

69 Section of Cathedral of Fiesole, showing the scheme in spacings and drop 

in arches toward the choir. 

70 Interior of the Cathedral of Fiesole, taken from a point discounting the 

illusion. 

71 Interior of Cathedral of Fiesole, taken so as to betray the illusion. 

72 San Stefano at Bologna. Survey of the scheme in arches and drop in 

capitals. 

73 Photograph of the same. 

74 Plan of the Cathedral of Arezzo, showing a scheme in the spacings. 

75 Section of the Church of San Nicolo at Bari, showing a bend in the line of 

arches spanning the nave, and a drop in the arches of the nave (also in 
the clerestory. 


GOODYEAR COLLECTION. 


29 


76 Series of Photographs of San Nicolo at Bari, in parallel perspective, show¬ 

ing drops in the arches in the direction toward the choir. 

77 Nave of the Siena Cathedral, showing the first arch as three feet higher 

than the following ones. The surveying party spent two days in the 
church before this fact was noticed. It appears very obvious after it is 
noticed. 

78 Dome of the Siena Cathedral. Photographic detection of the trick by 

which the second transverse arch supporting the dome drops five feet 
lower than the first arch of the pair. Compare No. 78A. 

79 Photographic detection of the same trick in Maria Novella, at Florence 

(drop of about two feet.) The view is taken across the nave and the 
arches to be compared are those to left and right, spanning the nave. 

80 Photographic illustration of the same trick in the Pisa Cathedral. The 

first transept arch is pointed, the second is round (drop about three feet.) 

81 View of the Cathedral of Piacenza, in which the same trick occurs (drop 

about four feet.) 

82 Survey of San Michele, at Pavia, showing a drop in the arches, toward the 

choir (nave and clerestory.) 

83 Survey of San Ambrogio, at Milan, showing a drop in the arches toward 

the choir. 

84 Survey of cathedral of Borgo San Donnino near Parma, showing a drop in 

the arches toward the choir. 

85 Plan of San Stefano, at Verona, showing a diminution of spacings toward 

the choir. 

The following churches arranged under another head have the same 
features. Cathedral of Cremona, No. 120. Santa Maria at Toscanella, No. 140. 
San Pietro at Toscanella, No. 113. Cathedral of Troja, No. no. Cathedral of 
Piacenza, No. 81. 

The Cathedral of Parma also has this feature, in the pier spacings. So 
has Santa Maria in Pensola, at Narni. 

The following churches have unmistakable schemes in arrangement of 
arch spans : the church at Palaja, Cathedral of Modena, and San Paolo Ripa 
d’Arno, Pisa. 


CHURCHES WITH PAVEMENT SLOPING UPWARD TOWARD 

THE CHOIR. 

The Survey can specify eighty-five churches in Italy which show this phe¬ 
nomenon. There are no publications extant known to the writer which have 
mentioned it. In view of the large number of observations it appears surpris¬ 
ing that the existence of this phenomenon is not generally known, but there is 
no doubt that it has been so far neglected and overlooked. In some cases the 
arches also drop hplow the horizontal. In nearly all cases the lines of capitals 
and arches are brought down to the horizontal. In eithei case the effect is one 
of perspective illusion. 1 he fact that the effect is natuially discounted by the 
eye into the slope which every level surface appears to have in perspective, is cei- 


3 ° 


CATALOGUE OF 


tainly the explanation of the general oversight. No doubt the peculiarity must 
be occasionally noticed and passed over by some casual observer as a local 
peculiarity, due to an unexplained local cause, but the assignment of any local 
cause becomes impossible when the observations are multiplied and collated. 
The discovery of this series of sloping pavements may therefore be reckoned 
as one of the most important discoveries of the Survey. It is a phenomenon 
known in Egyptian temples and is there ascribed by Egyptology to a purpose 
of perspective illusion. 

86 Santa Maria della Vittoria, at Palermo. The pavement slopes up nine 

inches, the vaulting drops toward the choir between two and three feet. 
Both facts are discounted in the picture. 

87 Section of the Church of San Pietro at Assisi showing the sloping pave¬ 

ment and drop in arches. 

87 a Photograph of the same church taken in parallel perspective to show the 
peculiarity. 

88 Photograph of the same church looking up the nave and showing the effect 

as discounted into perspective. 

89 Section of San Saba at Rome, showing the sloping pavement with arches 

built, and capitals set in a curve, dropping lowest at the choir end. 

90 View of the same church looking across the nave, showing the peculiarity 

as viewed from the side. 

91 View of the same church, looking up the nave and showiug the effect as 

discounted into perspective. 

92 Nave of Santa Maria Ara Coeli at Rome, with the disk of the measuring 

pole set at the figure which measures the slope (over three feet). The 
effect is discounted in the picture. 

93 View of the same church from the side aisle, taken in parallel perspective 

and showing the slope. 

94 Section of San Giovanni in Zoccoli, at Viterbo. 

95, 96 Views from the side and up the nave, as before. 

Among churches previously illustrated the effect of the sloping 
pavement is discounted in the pictures of San Stefano, Pisa, and of 
the Siena Cathedral. 

97, 98 Nave and aisle view in San Sabina, Rome. This church has the sloping 
pavement, which is thus dated to the fifth century. The effect is dis¬ 
counted in the nave view. 


PLANS WITH WALLS OF THE CHURCH OR LINES OF NAVE 

CONVERGING TO THE CHOIR. 

99, 100 Plan of San Stefano, Venice, and view of the church. This is a plan 
frequently adopted by theatrical scene-painters for increasing effects of 
distance. 

IOI Plan of San Giorgio in 3 elabro, at Rome, and views of the church, show¬ 
ing how the convergence is discounted by the eye. 


GOODYEAR COLLECTION. 


3 1 


102 Plan of Santa Maria in Cosmedin, at Rome, and views of the church, 

showing how the converging lines of the nave are discounted. 

103 Plan of San Bartolommeo in Isola, at Rome, and views of the church. 

Another church of the above class, is San Antonino at Piacenza. 

PLANS WITH WALLS OBLIQUE TO THE FACADE OR OTHERWISE 

DEFLECTED. 

Notwithstanding the remarkable vagaries of these plans as seen on paper, 
they are not easily detected in fact, the effects being optically discounted. The 
photographs connected with these plans do not obviously differ from others, 
and they represent the appearance of the buildings as generally normal. There 
is undoubtedly a picturesque result in these plans, and there can be no doubt 
that they were intentionally constructed. 

104 Oblique plan of San Nicolo, at Bari, and views of the church. 

105 Oblique plan of Cathedral of Ruvo. 

106 The ceiling of the church, photographed from below, to show the obliquity. 

107 General view of the interior. 

108 Exterior, with surveyor holding pole in order to show the amount of 

deflection in the wall from the normal line. 

109 Oblique plan of the Cathedral of Troja. 

110 Exterior of the church. Surveyor holding pole to show deflection of the 

wall from the normal line. 

111 Oblique plan of San Giovanni in Zoccoli at Viterbo. 

112 Interior of the church. 

113 Oblique plan of San Pietro at Toscanella. Scheme in spacings and arches. 

The fapade is bent in plan, the nave widens, as usual in the oblique plans. 
Views of the church interior. 

114 Oblique plan of Santa Maria della Pieve at Arezzo. Observe position of 

the door and the incommensurate spacings. 

115 View of the ceiling taken from the choir to show the deflected plan. 

116 View looking up, and showing the oblique position of walls and arches in 

left aisle adjoining the choir. See No. 172, the crooked column, and 

No. 5. 

117 Plan of Siena Cathedral with remarkable distortions. Compare the dome, 

No. 78. 

118 Oblique plan of Orvieto Cathedral. Notice the measurements of chapels on 

the left. 

119 Interior view. 

120 Oblique plan of the Cathedral of Cremona. Observe the nave spacings. 

121 View of the church, showing the bend in the piers. Compare No. 2. 

122 Oblique plan of Santa Chiara at Assisi. 

n CURVES IN PLAN. 

A “ curve in plan ” is a curve either in the lines of the ground-plan or in the 
upper lines of the building, which lies in an imaginary horizontal plane, whereas a 


3 2 


CATALOGUE OF 


“curve in elevation ” is a curve lying in an imaginary vertical plane. There 
is an important distinction between those curves of Mediaeval Italian buildings, 
which are identical in delicacy and character with those known to Egyptian 
and classic antiquity, and those which, either from the novelty of their location 
and use, or from their ruder construction, are phenomena which might not 
appear to hasty observation to be related to the ancient classes of curves. 

Strictly speaking, there are three classes of architectural curves in 
Mediaeval Italy : (A) those which repeat exactly in delicacy and position the 
curves as known to ancient architecture : (B) those which rival the ancient 
curves in delicacy, but which vary from them in their use as regards the part of 
the building to which they are applied : (C) those which are rather bends than 
curves, and which might, in so far, be considered as careless building rather 
than as purposed construction 

It must next be observed that it is an axiom of the architectural expert that 
a wholly regular and delicate curve in masonry can be due only to one of two 
causes : (a) intentional construction ; ( b ) thrust of a vaulting. It is also pos¬ 
sible that in a given building there might be some curves due to thrust, and 
others due to construction, or that a curve originally due to construction had 
been exaggerated by thrust. 


CLASS A. CURVES IN PLAN CORRESPONDING IN USE AND 
POSITION TO ANCIENT CURVES. 

123 View sighting on the curve of the Lateran cloister at Rome. The curve 

is found on all four sides, convex to the court, and in the cornice has 
possibly been exaggerated by thrust; but it is also found in the parapets, 
supporting the arcades on all four sides. These parapets are not subject 
to thrust. 

124 Similar curve in the cloister of San Paolo fuori le Mura at Rome. Here 

there are no curves as regards three of the parapets, but there are 
cornice curves convex to the court on all four of its sides, and the 
masonry shows cutting and fitting intended to produce the curve. 

125 G roup of photographs showing the masonry cutting and fitting of the 
above cloister curves. Some of them relate to a system of ‘working in’ 
the curve of the cornice by leans accented at the centre of each side. 
Others show the jointing of masonry in the cornice, producing the curve. 

A Shows the forward lean of a column, to be tested by the plumb-line in the 
picture. 

B Shows the capital of such a column cut to a horizontal at the top. This 
shows that the lean, to be tested by plumb-line, is not accidental. If the 
lean were accidental the top of the capital would tilt forward. 

C Similar capital. Observe the cutting and the divergence of the necking 
fillet which slopes down, from the cutting of the abacus, which slopes up. 
'Phis is also apparent in B. 

D Shows the jointing of the cornice by which the curve is produced. 

E Shows similar facts. 


GOODYEAR COLLECTION. 


33 


F View from the above cloister, bearing on question of thrust. Of two col¬ 
umns here seen, the outer one leans forward ; the rear one does not. 
Observe the divergence of their lines. This proves that the lean is not 
due to thrust of the vaulting, in which case both columns would lean 
forward. 

126 Cloister of Sassovivo, near Foligno. View sighting on the curve of the 

cornice convex to the court. This curve was first observed in an Italian 
photograph by Mr. Nelson Goodyear, and this led the Survey to visit 
Sassovivo. Each side of the court has the same delicate and regular 
curve. 

A Leaning columns of this cloister, showing how the curve above is produced 
by forward leans toward the centre of each side. The bases of these 
columns show no evidence of grinding or repair. 

127 Cloister of the Certosa, near Pavia. The photograph does not show the 

curve, but illustrates the proof of construction. The parapets have 
curves on all four sides, convex to the court The Survey does not as¬ 
sert that these curves are visible in the cornice, and it would not 
appear from the length of the sides and the character of the terra-cotta 
work above that any curve could have been intended for effect on that 
line. In other words, thrust cannot even be considered as an element of 
the problem. This Cloister is Fifteenth Century Renaissance, a remarkable 
survival of the curves. 

128 Cloister of San Zenone, Verona. Curves “ in the lines of the columns,” 

reported by Mr. Nelson Goodyear ; not seen by the Survey, but the re¬ 
port eliminates thrust. 

129 Cloister of the Celestines, Bologna. A decisive case—( a ) because there 

are no leans to complicate the problem of intention ; (h) because the 
curves (as usual, all convex to the court) are found from top to bottom 
in the brick walls of a two story cloister ; (c) because on one side of this 
cloister there are no vaultings on either story and no thrust can be sug¬ 
gested. The measurements in this cloister were made at the earth's surface. 

The most exact and direct analogy to the above cloister curves is 
the curve in the cornices of the court at Medinet Harbou, found by 
Pennethorne. (See “Architectural Record,” for April, 1895.) The use 
of curves in plan in Greek temples is attested by Jacob Burckhardt for 
Paestum (see No. 300), and by Burnouf for the lines of columns in the 
Parthenon. It is attested for the Roman period by observations on the 
Maisoti Qarree at Nimes. (See “Architectural Record,” April, 1895.) 

130 Cornice curve, in the portico of San Giorgio in Velabro, Rome. Such 

cases are very numerous. It is not generally easy to find them wholly 
free from possible suggestions of thrust. Hence the importance of the 
next picture. 

131 View looking up, inside the above portico, to show a timber truss-work 

not exercising thrust. 


34 


CATALOGUE OF 


CLASS B—CURVES COMPARABLE TO ANCIENT CURVES IN 
DELICACY, BUT DIFFERING FROM THEM 
IN NATURE OF USE. 

The differences do not appear to spring from anything but difference in 
the character of the buildings—for instance, the difference between a temple 
with exterior porticos and a church with exterior walls. We have no remains or 
records as to curves in the interiors of temples. All these differences therefore 
may be simply gaps in the record, due to the destruction of the classic build¬ 
ings. It is not, however, the purpose of the Survey to establish correspondence 
or historic continuity, however probable this may appear. The facts are the 
main thing. 

> 3 2 Curve in plan beginning at the foundations. San Paolo Ripa d’Arno at Pisa. 

133 Curve in plan in the alignment of columns extending through the entire 

walls of the clerestories. Plan of the Cathedral of Fiesole, with survey for 
the curves. The photographs attached do not clearly show the curves, as 
they are discounted by the optical effect, but they are very clear to the 
eye when sighting nearer to the walls, and were thus discovered. 

134 The left line of columns in the above Cathedral. View looking back 
from the steps going up to the choir, and show the curving line of the 
bases. 

135 San Apollinare Nuovo, at Ravenna (Sixth Century church). The ancient 

mosaics show that the walls have not moved. The curves in this church 
are parallel, the right line convex, and the left line concave, to the nave. 
They begin at the foot of the columns and extend through the clerestory 
walls ; six inches deflection at the center. The Survey of San Donato, 
at Genoa, offers another case exactly parallel. 

13b The curve at Trani. It extends from the bases of columns to the ceiling 
of the church. 

137 The left line of columns at Trani showing the curve in the bases 

138 T he curve in Santa Agnese, at Rome, both galleries convex to the nave. 

Parallel curves in both gallery walls, a clear case against thrust. 

•39 Curve in the Cathedral of Genoa. It is also found here in the bases of 
the supporting columns. 

14° Plan of Santa Maria, at Toseanella. Survey for the curve in plan, of the 
left line of columns. The right wall has a parallel curve, not found 
in the columns. 

141 Curve or bend of the left wall of this church. Sighted from the pulpit. 

For general view of the nave, see forward. 

142 Cui ve in plan of the south wall, Pisa Cathedral, from the pavement. See 

plan, No. 28. 

143 I he same curve, sighted from the roof. 

144 Plan of the galleries, Pisa Cathedral, showing the curves in the plan of the 

main galleries, of the aisle columns, and of the outer walls. The col¬ 
umns supporting these galleries have all been plumbed to test the possi- 
bdity of thrust in the supporting aisle vaults, with results negativing 


GOODYEAR COLLECTION. 


35 


thrust. Different columns lean in different and opposing directions at 
the points examined for thrust. 

■45 Pisa Cathedral galleries, north aisle, line of columns sighted to show the 
curve, with a straight line laid down by the Survey to assist the illustra¬ 
tion of the curve. 

146 Pisa Cathedral, south gallery, view sighting on the curve, from within , which 

is concave to the nave without. 

147 Pisa Cathedral, south gallery cornice. View sighting on the curve in plan. 

A line laid down by the Survey to assist the illustration was accidentally 
moved slightly away from the curve. This curve is, more properly speak¬ 
ing, a bend, and belongs to a class, showing rougher construction. It 
cannot, however, be considered accidental, when all the facts are cor¬ 
related. These plans and pictures show that the gallery cornice lines of 
the Pisa Cathedral correspond to the curves found at Fiesole, in San 
Apollinare Nuovo at Ravenna, in San Donato at Genoa, in Santa Maria 
at Toscanella, etc., as regards the correspondence of a convex line on 
one side to a concave line on the other. These plans grade over into the 
deflected plans like those of Santa Maria della Pieve at Arezzo by various 
transitions, such as the next. 


CLASS C. BENDS RELATED TO THE FOREGOING CURVES, BUT 
GRADING INTO THE MORE PROMINENTLY DEFLECTED 
PLANS ALREADY ILLUSTRATED. 

.48 Sie na Cathedral ; view sighting on the bend of the choir. Similar bends in 
the nave , parallel to one another. 

149 Photograph from a broken negative, showing the bend in the left cornice 

of the Siena nave. The words left and right invariably apply to the 
church viewed from the fapade toward the choir. Here the bend is seen 
on the right of the picture. 

150 Gallery bend in the Orvieto Cathedral. 

151 Gallery bend in the Orvieto Cathedral. A rare case where both lines are 

concave to the nave. Such lines might be considered as careless con¬ 
struction, but they appear to be gothic survivals of older traditions. 
For undoubtedly intended irregularities at Orvieto see Plan No. 118, 
The phenomena must be viewed as a whole. 

132 View sighting on the curve in plan of the facade of St. Mai k s at Venice 
(ten inches deflection) concave to the piazza. 

153 The same curve sighted from the level of the pavement. 

The simplest possible explanation for all these bends and curves would be 
asymmetry, dislike for straight lines as too cold and formal. This point of view 
may be more widely applicable to Egyptian, Greek and Roman cuives than has 
been heretofore supposed. It must be remembered that there are as yet no universally 


CATALOGUE OF 


3 6 

accepted explanations of ancient curves. In so far as optical theories have hereto¬ 
fore been offered for ancient curves, they are of two kinds, theories assuming 
optical correction and theories assuming optical illusion. Both theories are 
conceivable for antiquity, for different cases. There do not appear to be any 
cases in medieval building where optical correction was intended. There are 
many cases where optical illusion may be conceived as intended. The proof 
that optical illusions were otherwise undoubtedly employed, has some bearing 
on the question. The proof that asymmetry was otherwise undoubtedly employed 
lias also bearing on the question. From the standpoint of history, which is the 
most important one of all, it appears to be proven that the mediaeval curves and 
bends are continuations and developments, through Byzantine influence, of the 
ancient ones, varied by mediaeval exaggerations, carelessness, or caprice, accord¬ 
ing to periods of time, or more or less close relation to Byzantine centres ; and 
also varied according to the difference in character of mediaeval buildings from 
those of antiquity. 

CURVES AND BENDS IN ELEVATION. 

The main argument for purpose in these phenomena is that they are all 
convex to the sky line in exteriors or convex to the roof line in interiors. In 
other words they are all concave to the spectator, as regards the upper lines of 
the buildings; in which upper lines they mainly occur. Accident is hardly to be 
assumed under these conditions. The possibility of thrust or settlement is rarely 
present, and no case is presented where this question has not been carefully ex¬ 
amined. As regards optical effect it is true optically that the effect is the same as 
that of every bend or curve which is convex to the spectator and above the line 
of vision. As regards the purpose the Survey is non-committal. If not optical it 
must be asymmetry. Asymmetry is a matter of optical prejudice, but distinct from 
conscious theories of optical effects. The optical effect of every curve concave 
to the eye on the plane of vision, or convex to the spectator above the plane of 
vision, is undoubtedly an illusive effect of perspective. That traditional habits 
of building, begun in Byzantine centres with underlying consciousness or knowl¬ 
edge of the optical result, may have been continued or adopted by other 
mediaeval builders as a matter of tradition without such consciousness, is a pos¬ 
sibility. 

All buildings examined by the Survey which show a bend or curve in eleva¬ 
tion belong to the Byzantine Romanesque, and with exceptions at Cremona, 
Ferrara and Vetralla, they can be directly related to centres of Byzantine 
influence. I he importance of this fact cannot be over-estimated, as bearing on 
the question of carelessness or accident. If the curves were accidental they 
would be equally numerous in the Gothic. 

154 Gallery bend of San Marco at Venice. Every gallery of the church has 

this upward curve. It is verified by the Survey that these curves are not 

due to settlement of the piers. 

155 Curve in elevation, view on the roof of the Pisa Cathedral. 

156 Curve in elevation, view on the roof of the Pisa Cathedral. 

157 Curve in elevation, cornice of San Sisto at Pisa. 


GOODYEAR COLLECTION. 


37 


158 Curve in elevation, left side of San Michele at Lucca. 

159 Photograph of the above in parallel perspective. 

160 Detail of the masonry of this curve showing its careful jointing. 

161 Survey of a bend in elevation, San Alessandro at Lucca. 

162 Photograph of the same. 

163 North gallery bend in elevation, Pisa Cathedral. 

164 The same taken from the nave. 

165 Upward rise of this bend from the facade gallery to the fifth bay. 

166 North gallery bend, another view. 

167 South gallery bend, Pisa Cathedral. 

168 South gallery bend, Pisa Cathedral, as it rises from the facade gallery 

to the fifth bay. 

169 General view of these bends from the fagade gallery, showing how they 

tend to merge into the perspective, even as seen from above. 

170 Irregular curve of the masonry lines on the side of the Cathedral of 

Ferrara. Considered as an isolated case, this might be attributed to 
careless and irregular building. Viewed with other cases, it may be con¬ 
sidered as rougher building than usual, of a curve in elevation. 

171 North aisle columns of the Pisa Cathedral, with plinths arranged in a regu¬ 

lar curve rising from each end to the centre. The camera could not be 
moved back to include all the bases, and the facts are not very clearly 
indicated, as they are discounted by the eye. Therefore, see also Survey 
of the Pisa Gallery levels, including this phenomenon. The chances 
against an accidental arrangement producing such a curve are enormous. 
Similar arrangement, but not quite as regular, in the south aisle. 

CASES OF ASYMMETRY. 

172 Crooked column in the exterior choir gallery of Santa Maria della Pieve 

at Arezzo. Its significance rises when connected with the apparently 
capricious arrangements of the ground-plan of this church, No. 114, and 
with its leaning piers, No. 5. 

173 View in the south transept of the Pisa Cathedral, displaying the asymmetry 

found in the masonry of the arches as regards the use of color. All views 
of the Pisa Cathedral will show a purposely irregular arrangement of the 
bands of color in piers, walls, etc. 

174 South transept of the Pisa Cathedral (from the north transept). The 

columns on the right (west side) average two and a half feet higher than 
those on the left (east side) of the south transept. This is a case of 
‘ putting the best foot forward.’ The larger columns are those which 
face the spectator who enters by the door of Bonanus and are accepted 
by the eye as standards for all the other transept columns. The Survey 
gave four weeks’ work to the Pisa Cathedral, before this trick was 
noticed. 

Many cases of asymmetry merge into the well-recognized and beautiful 
varieties in the detail ornament of mediaeval buildings, as illustrated in the fol¬ 
lowing Catalogue numbers. 


38 


CATALOGUE OF 


MEDIAEVAL ARCHITECTURAL DETAILS AND VIEWS. 

North Italy. 

i 75 p isa Cathedral. South transept apse, in parallel perspective. 

176 Central door of fapade. 

177 I )etail of a column of this door. 

177a A nother detail of the same. 

178 Detail of an arch of the facade. 

179 A capital from this arcade. 

180-182 Details of the bronze doors by Bonanus, the architect of the Leaning 
Tower. 

183-187 Details from the facade of San Michele at Lucca. 

188-192 Details from the facade of San Martino at Lucca. 

I 93 ~I 97 Details from the portals of Lucca Churches. The first three numbers 
are from Santa Maria Bianca. The last two numbers are from San Giusto. 
198 An Ionic capital from San Frediano, Lucca. A remarkable case of medi¬ 
aeval Ionic. 


Central Italy. 

199-201 Views in the interior of San Marco at Venice. 

202-213 Views and details from San Pietro at Toscanella. 

214-219 Views and details from Santa Maria at Toscanella. 

220 Door of the Cathedral, Assisi. 

221-222 Capitals from Vetralla. 

223 Cloister of Sassovivo. 

224 Facade of Siena Cathedral. 

225 bull, detail fiom the Siena facade, in the cathedral museum. 

226 Fragment of the Siena Cathedral pavement, a Cherub, in the cathedral 

museum. 

227 View of the Siena Cathedral pavement from the gallery. 

228 Plan of the Siena pavement. 

229 Perspective in San Paolo fuori le Mura, Rome 
230-231 The cloister of San Paolo. 

232 Lateran cloisters, Rome. 

233 l abernacle of San Giorgio in Velabro, Rome. 


South Italy. 

234 Cathedral window at Bari. 

235 Main door of San Nicolo, Bari. 

236 Tabernacle of San Nicolo. 

237 Side door of the same church. 

238 Main door, Trani Cathedral. 

239-242 Capitals from Ruvo. 

2 43- 2 50 Views and details of the Cathedral of Troja. 
251 Detail of the pulpit, Ravello Cathedral. 


GOOD YEA R COLLECTION. 


39 


ANCIENT ART. 

Museums of Perugia, Chiusi and Volterra. 

252 Museum of Perugia. Gorgon head in terra-cotta 

253 K truscan cinerary chest, terra cotta. 253a another view. 

254 Mirror-case of silver. Bacchus on a panther. 

255 Et ruscan sarcophagus, a goddess of death seizing the deceased. 

256 Museum of Chiusi. Etruscan cinerary chest, with relief, probably a combat 

from Homer. 

257-263 Museum of Volterra. Etruscan cinerary chests with reliefs. 

257 Rape of Helen. 

258 Ulysses and the Sirens. 

259 Hunt of Meleager. 

260 The Last Journey (represents the departure for the spirit world). 

261 A Griffin, personifying death, seizing a victim. 

262 A Centaur 

263 The Rape of Persephone. 


Ancient Art. Rome, Naples and Pompeii. 

264-270 Museum of the Baths of Diocletian. Series of stucco reliefs from the 
excavations in the grounds of the Farnesina Villa, 

271 Court of the Naples Museum. Views from the various galleries follow 
272-274 Rooms of the small bronzes. 

275 Hot water boiler from Pompeii 

276 Gallery of the Greek vases. 

277-283 ( lalleries of sculpture. 

284-285 Galleries of frescos and mosaics. 

286 Pompeiian fresco, Hercules finding his infant son, Telephus, suckled by a 

hind. 

287 Pompeiian mosaic, street musicians. 

288-294 Stuccos from Pompeii. Naples Museum. 

295-298 Stuccos in the Baths of the Forum and of Stabile at Pompeii. 

299 Figure of Atlas from the Baths of the Forum. 

Ruins of Paestum. 

The views of the Neptune temple include the first photographs ever taken 
on this site for Greek curves. 

300 View sighting on the curve in plan, of the temple cornice. (I he Neptune 

temple is the only surviving temple of Greek architecture having cornice 
curves in plan, as distinct from the better known curves in elevation. 

301 View of the side elevation in parallel perspective, showing the optical effect 

as a rising curve, i. e., a curve in elevation. 

302 Front view of the Neptune temple in parallel perspective. 

303 General view of the Neptune temple. 

304 Neptune temple, showing the curve in elevation of the stylobate. 


40 


CATALOGUE OF GOODYEAR COLLECTION. 


Views from Sicily. 

305 Girgenti. The temple of Concord, showing the curve of the stylobate on 

the flank. 

306 The temple of Concord, side elevation in parallel perspective, showing the 

curves. 

307 Temple of Concord, front view, parallel perspective. 

308 Girgenti. Temple of Juno, side elevation, in parallel perspective, showing 

the curves. 

309 Girgenti. Ruins of the temple of Jupiter. Fragments of one of the 

Giants (supporting figures of the interior) collected together. 

310 A Doric capital, in two pieces, as originally made, with figure of the 

custodian as standard of size. 

311 View of a portion of the exterior wall showing bases of the engaged 

columns. This dates the engaged column to the fifth century, B. C., in 
Greek architecture, a fact not generally known. 

312-313 Views at Selinus, ruins of the Greek temple of Apollo, so-called. 
Ruins of the temple of Hercules, so-called. 

314 Views from Egesta, side elevation of the temple in parallel perspective, 

showing the curve. 

315 The stylobate, showing the curve. 

The views from Sicily include the first photographs ever taken for Greek 
curves on that Island. 


The Pantheon at Rome. 

316 Curve in elevation of the front entablature of the Pantheon, discovered by 

the Brooklyn Institute Survey. 

317 Another view of the same. 

Attention is called to the 8 x 10 prints, which are not catalogued, unless 
displayed on the walls. 




































— ■ 




























































- 




. 




, 


















If) 


THE BROOKLYN DAILY 


least, a condition which (he peo(le or the 


gmssaz^ ^ganzara^ | ggfc ^ not „ dur ,... 



GENERAL FITZHUGH LEE. 

m 

Some Facts About Our New Consul General to Cuba—A Chat 
With Him About the 5oulh and the War. 

[^osaBBaasacuacftsbeacc ^z»orrp'o»:raig t CTs:^reax2 i 


■ASHINOTON, D. C„ June G, 1896— 
Before this letter is published Gen¬ 
eral Fitzhugh Lee will probably be 
In Havana acting as the American 
consul general and also as per¬ 
sonal confidential adviser to Pres¬ 
ident Cleveland as to the Cuban troubles. He 
will lor the time have the most Important dip¬ 
lomatic post under onr government,, and he 
Is. I believe, especially fitted for the position. 
General Lee Is a man of high culture, a sol¬ 
dier of experience, and his life has been spent 
In dealing with public men and affairs. 

Z Spent a morning with him hero in Wash¬ 
ington shortly before his appointment, and 
had a chat with him about himself and public 
matters. Just before meeting him I had fin¬ 
ished looking over his "Life of Robert E. Lee,” 
and our talk of this brought out some of his 
own war experiences which have never been 
given to the public. He has. you know, had 
some of the meat narrow escapes of any man 
now living. Three horses were shot from 
under him In the battle of Winchester, and he 
has been wounded again and again, both In his 
Indian service anti hi the war of the rebellion. 

Pen Picture of Fitzhugh Lee. 
looked at General Lee I could not real- 


sign my services to the Union army. He re¬ 
plied: ‘Well, I'm going to Washington to 
offer mine, so we may as well travel together. 
You can act as the chief if we are stopped by 
the Southerners, and I will do my part if 
;her,e Is any trouble with the Northerners as 
to our getting through the lines.' I agreed to 
this and we traveled together.^ At Havre de 
GrVee we found the railway torn up and had 
to take a steamer and go via Annapolis, tak¬ 
ing the railway from there to Washington. 
As we attempted to take the steamer we were 
told that we could not go on board without 
a pass, and that no one could be carried 
without and order from General Ben Butler. 
Butler had charge of the town and he was al¬ 
lowing only Unionists to go through. As I 
heard this 1 said: ‘Well, Major Kearney, 
that’s your business.’ Kearney .said: ‘All 
right.' and leaving me in charge of the bag¬ 
gage. he went up town and soon returned 
with passes for Major Kearney and friend. 
My name was not mentioned. With these 
passes we easily got through to Washington. 
1 went at once to the war department and re¬ 
ported and was told that there were orders 
there for me. These directed me to go to my 
regiment; but. 1 said In reply, that my regi¬ 
ment was In Texhs. I was Informed that it 
was not, and that it had just arrived at 
Carlisle, Pa. 


As 




His modest, unassuming manner does not com- 1 
por; with the Idea of battle scars, and It is 
ban! to associate his low, sweet voice with 
that which in stentorian tones gave the orders 
te the brigades under him when he was the 
chief cavaJry general of the Southern confed¬ 
eracy. His pictures glvb you but little Jdea 
of the man. You need the colors of a Titian 
or a Rubens to bring out his characteristic 
features. General Lee has a complexion of 
that delicate red and white which shows the 
veins gunning here and there through it. Hi* 
eyes are of the brightest blue, and his head 


The Story of a Saddle. 

... # --- - b« 

resigned at once,’ continued General Lee. 
‘ I had. howover. in army saddle in Phila¬ 
delphia. which I was very anxious to get. 
I was something of a horseman, and I wish¬ 
ed to use the saddle during my service in 
the South. When I received the orders it 
seemed to me that I might go to’' Carlisle 
and march back to Washington with my 
regiment. I would be able to pass through 
Philadelphia and could bring my saddle w,ith 
me. and then resign, thus Baving the saddle. 
It was a foolish idea, but I carried it dut. 
I said nothing to anyone about my intended 
resignation. I merely saluted, took my orders 
and left for Carlisle. I got the saddle at 
Philadelphia and carried It with me to my 
regiment. I found that a number of the 
officers had already resigned. General Stone- 
man was in Philadelphia, and he made me 

•■iiS-S" -Vf ".x: 

encamped lust outside the city on 1 the edge 

of the Seventh street road. The first thing I 
did was to ask leave to go into the city. 
This was granted, and I was ordered to get 
forage and food for thei soldiers. Before 
leaving 1 gave directions to an orderly to 
take my trunk to the National hotel and’ 
tell the clerk to bavg It kept there until 
called for. I then took my horse, with ms- 
saddle on it, and rode down into the city. 

I first delivered the orders for the forage 
*ud food, and then went to the hotel. Here 
11 took the. saddle from my horse and sent 
Jit upstairs, directing the orderly to take 
the horse hack to the camp. I followed the 
saddle, had my trunk sent up to my room 
and at once changed my clothes, putting 
on citizen’s dress and packing my uniform 
and saddle in my trunk. 1 then went down 
and paid my bill and bargained with a cab¬ 
man to take me ten miles Into Virginia He 
charged me S10. I remember. My trunk was 

der medium height.'and though his form Long'bridged B^t‘VT* 

^■rounded, it 1, muscular rather than fat. XT' “*£5, 


- Grant and Lee. 

“You were close to General Lee faring the 
war, were you not?'* i 

“Yes,'' replied Fitzhugh Lite. *1 w *s his S3GU2S2C53C 

nephew, and we were naiurallJ! intimate j _ ^ 

friends.’ 1 1 HERE is probabf no ~ production 

“You were with him at the bail** of Ap- I ' ' 





LE—SUNDAY. JUNE 7, 189fi. 



: Russian fiber to a place In this quartet is | a succession of sifters and separators, which* 
“ I based on the enormous extent of the deposits | tear, strip and clean the fiber until it is ready 
which have been discovered in Eas:. Russia, for the different departments for which it Is 
beyond the Ural mountains, and Russian Si- to be graded. It is then taken up by blowers 
H beria. So far their specimens have been of!and shot up in a feathery, snow like stream 
ff comparatively poor quality. The yield is used ! into canvas bins. Nothing more beautiful 
, almost entirely in Europe, wtere it Is mixed! than the material at this stage can be imag- 
Lfurv-j-' - | with the Canadian for spinning, making paper , ined; What a few moments before was dark. 




pomattox. Did the surrender :ak| place, as 
li has been described, under that afl'le tree?” 

“No,” said General Lee; “the ipple tree 
story arose from the fact that Gentf*! Robert 
B. Lee was lying under an apple,tree upon 
a blanket near the Appomattox ®hrt house 
when a messenger came to him belting Gen¬ 
eral Grant’s last note as to the surrender. 
In this note Grant asked Lee at wbuplace he 
wished to have the interview ttke place. 
General Leo thereupon left the *PpIe tree 
and secured a room In Mr. Willlajf McLean’s 
housedn Appomattox. This was * two story 
brick, with a porch running alonglnfront of 
It. General Grant arrived at M* house 
about 1 o’cCock that day, and the uirrender 
took place in that room. Grant *a: at *a 
mar*ble top table In the center ot die room 
and Lee at a small oval table near the win¬ 
dow. They had met once eighteea fears ; be- 
fore, during the Mexican war, wWn Lee was 
an engineer officer on the staff ot General 
Scott and Grant was a lieutenant & Infantry. 
Their Mexican meeting was first referred to, 
and they then discussed the teflPi of sur¬ 
render. which, at General Lee's request, were 
reduced to writing.” • 

General Lee's Sword. 

“General Grant did not take Geniral Lee’s 
sword?” 

"No,” was the reply. “He did not demand 
it, as is customary, bur he actually apologized 
to Lee for not having his own sword on at the 
time. Grant was dressed at the of the 
surrender in .a very ordinary- uniform. He 
wore a dork blue flannel blouse an$ ordinary 

w*. Wuwoo, ^-1. • «-/-»•. wore 

wore neither spurs nor sword, anf haf^nc^ 
marks of rani: except his shoulder Sraps. Lee 
on the other hand, wore a handsome uniform 
of confederate gray, fine top boots, with hand ¬ 
some spurs; elegant gloves and a splendid 
sword. The handle of the sword tas white, 
with a ^lion's head at the top. Iti scabbard 
was of blue steel, with gilt irimmlnss, and the: 
handle was wrapped with gtlt wire. The j 
sword is now in the possession of General 
Lee’s son, who is/ president of Washington 
and Lee ^university. Lee was very much 
pleased with Grant’s treatment of Mm at the 
surrender, and he after said to a frienl in 
Richmond: 

” ‘No man could have behaved better than 
General Grant did under the circimstances. 
He did not touch my sword. The osua.’ cus¬ 
tom Is for the sword to Be received wb,*n ten- 

I. and then band ed back but Gant did 


of 


and other purposes where an Inferior grade 1 sheeny rook, has btjpn transmuted Into a 


Inorganic na« 
is so much pi 
conception ae 
understood 


, can be utilized. | white. shNing mass of delicate, quivering, 

about which there, Africa has been stigmatized as “a country down. y 

lar mystery and mis- ; of samples." but the fact that she has fur- „ , . , . ., ,, 

bestos It Is vaguely nlshed the world with six tons of diamonds. Us Manufacture and Its Innumerable Uses. | 
the principal claim a thousand thus <rf ostrich feathers and with 


n OMtXSPOlTDh'XTS should not fttl ditap. 
pointed .then their questions are not an- 


The process of manufacture Is intensely. 


of this remarrfble product to att«- aS? tSiSSt tan’ t^hivo wefgM K?r- «<>™ especially from the fact 

tion Is that it cannofbe consumed by fire, <„g a careful consideration for her newer h* 1 43 the industry is constantly entering 
and not infrequently De effect of the men- products. C/x>cldolite,.or blue asbestos, occurs upon novel phases, new methods of treat 


Steered immediately, as the information 
solicited frequently requires considerable 
research, for which ample lime should be 
allowed. 

The name and address qf the writer should 
accompany every question. 


U 


tion of asbestos is to arry the hearer back 
to the far off Egypt!:’, days when the peo¬ 
ple of the Pharaohs rapped their dead In 
Cere-cloths woven fijn the fiber In order 
to preserve them, the tody having be#n first 
embalmed with aloe, and subtle essences, 
so that no noxious filiations should dis¬ 
turb a community 1 which fear of pesti¬ 
lence had become a Iredltary Instinct. Ro¬ 
mantic stories have Iso come down to us 
of ancient demonstrates of magic In which 
asbestos has played, t leading part, but 
the real and vital Iwrest in asbestos cen¬ 
ters In the present, t Is of more Import¬ 
ance to the huiian r-e to-day than It has 
been In die whole rage or history. Asbes¬ 
tos twenty-five ye.-s ago was practically 


in apparently inexhaustible quantities In the mem and special machinery have to be de- .. 

Great Orange river mountains. South ^Africa, vised. But a description cf these would ] Z'tTtKm “ooo “«'LsnTo 


carry this part of the subject to too great a 


about seven hundred miles from the Cape o f 

Good Hone. It is found in two forms, fibrous , .. ... . 

and earihy. The former is of a peculiar lav- It will sufPoe to say that the asbes- 

ender blue or leek green color, .possessing j to;s is graded in the bins, according to its 
long, delicate looking fibers, which are some-,length of fiber. No. 1, which Is the highest 
what elastic and easily divisible. The color grado, is used for carding, spinning and 
Is caused by the large proportion of oxide of I weaving. No. 2 is used to some extent for 
iron It contains. It is dry and compact an i carding, a* well as for cement, and for pipe 
when flberized has the look and feel of wool, covering and as a substitute for No. 1 where 
The fiber varies from half an inch to three the material permits of a shorter fiber. No. 
inches. Its exceptional tensile strength, which 3 is used largely in paper and for man) kinds 
Is attributable to its excess of iron. Is neutral- of filters. One of iu special uses is for wall 
Ized (for present purposes) by a corresponding plaster. This Is a new application which 
lack of fireproofness. It has but little lln.u will have a distinct effect in modifying the 
or magnesia, and consequently, when exposed practice of indoor plastering. Iustead of the 

__ to fire, it weakens and crumbles. For ele - ordinary tedious and elaborate preparation 

not known in the lalratory of the chemist I trical purposes it Is. of course, out of the que*-, of studs and strips, and the use of inferior 
or mineralogist. It mv finds its way In one tion. Its chances of coming into the mark.and dust creating mortar #rith its after scor- 
form or another intojrery workshop where to any extent, as asbestos, are not promising , * u 6. which is necessary to give cohesion to 
steam is employed, ’■the question: “What but It may for many purposes come to super- the final coat of plaster it paris, a single 
Is asbestos?” it is no^ltogether easy to find sedo certain other fibers, such as wool, which coating ot the asbestos Is laid on. It has a 
an answer. Geologist classify, it among the are-much more expensive. glossy surface that will not crack, as, rfhile 

Before the development of the Canadian ' Arm it is perfectly flexible. It can be put on 
fields, the Italian asbestos was supreme in die raw brick; and a room of which the walls 
the market. For nearly twenty years Italy have been built in the morning can, before 
has been looked to for the best grades of the night? have a smoothly finished Interior sur- 
flber. From a point on the northern mount- ! face, shining like glaas and hard as a rock. A 
siu slope of the Susa valley Is taken the floss, kindred application of asbestos is now ccming 
^ appearance of which in 
. . rin im 11 m 

cality Is found a fine white powxler or as 



i ‘A N AP 

hornblendes. In It. 
cal paradox, a min 
fibrous %sd cryst 
a floating stone, 
carded, spun and 
silk. It is apparen 
tween the vegetab 
flora, possessing 


sbestos is a physi- 
ic^l vegetable, both 
elastic yet brittle, 
capable of being 
as flax, cotton or 
connecting link be- 
d t'hjLmineral klng- 
soviet eri sties 


bestos, which serves for paint and other pur- 
pokes. The mining is carried on at a height 
of from 6,000 to 10,000 feet above the sea 
level. The temperature is, of course, low. 
but the Inhabitants are hardy and robust and 
makewftling miners. The works are reached 
by mule paths, for some distance, but many 
miles have to be' traversed on foot and the 
Journey to the plain takes from four to five 
hours. The mode in which the material is 
brought down the mountain side is by load¬ 
ing it on a sort of toboggan, which slides as 
easily over the rocks"as over snow, and so 
expert are the inhabitants at this work that 
. two men can bring down eight hundred¬ 
weight of asbestos in three hours. In search¬ 
ing for asbestos on the Italian hills the pros¬ 
pector looks in the perpendicular face of the 
rock for cracks. These may be filled with * 


into '"'gueintbe shape of uninflammable deco 
walls "n d ceilings . rpv, '' c- '' are 
lav-ii : .us o' •team- 

ships. They are embossed In very beautiful 
designs and can be treated with gold, varnish, 
lacquers or any other substance, for the en¬ 
hancement of their ornamental effect. 

The applications^! asbenos are no^ so 
Infinite that it is'""impossible to enumerate 
them here, but a few of the more important 
of them may be mentioned. 

Firemen clothed in asbestos clothing and 
masks, as are those of London an<J Paris, 
can walk through the hottest flame with com¬ 
parative impunity. Asbestos fireproof cur¬ 
tains have reduced the mortality of theater 
fires in a very appreciable degree. It has 
been calculated that between 1880 and 1880 
the yearly ^average of persons who perished 
through fires in theaters, not reckoning the 
number of lives lost through panics, was 
1$4. Since the Introduction of the asbestos 


.neh; of wrought Iron. 22.000 to 20.400 pounds p*r 
square Inch, and cast steel (maximum), 142.0QO, 
and Bessemer, hammered. ir»2,000. 

“Inquisitor”— Snow Is not frozen rain. It is 
the crystaHne form Into which the excess of va¬ 
por In the atmosphere Is condensed when the tem¬ 
perature is below freezing. Hail and sleet are 
frozen ram. 

“G. R"—The consolidation “blil passed the stats 
senate on Wednesday. March H, by a vote of 
S8 to 8; the assembly, on Thursday, March 26, 
and was repassed over the mayors* vetoes on 
Wednesday. April 22. 

“H. S.'*—For the name of a medical specialist 
in New York or elsewhere. 4t is advisable to refer 
to your family physician. 

“E. J. §.'•—In all questions of law. whether 
they are In regard to real or hypothetical cases, 
it Is best to have the assistance of a lawyer In 
full practice. 

“J. P. L.“—The records of hook and ladder con¬ 
tests made September f>. 1£1*4. at Southampton, 
were: Phoenix of Sag Harbor, 464-’> seconds; South- 
old, 49 seconds; West Sayvllle, D2 seconds; Union 
of Lindlnhurst. W 1-5 seconds. The companies 
ran with trucks '30> yards, raised a 25 foot ladder 
against a wall, a man ascended and 

* -<mn> t'- - ~ fnll 

Iwigie Aimaimc, !»<**,.. 

“A Reader**—This corre# 
from whence comes the following quotat?^ 
tween each of -the lines there was a line or two In" 
explanation of why.*' etc. 

To the Editor of the Brooklyn Eagle: 

During the past winter the Cosmopolitan con¬ 
tained a story by tho late R. L. Stevenson. The 
February number contained a portion and the 
usual “To be continued.*’ but since then nothing 
more has ’appeared. F have not seen any mention 
in print of the story having been an unfinished 
one. and would be glad to learn something inoro 
about It. and should be grateful for aid from 
the Eagle concerning It.* The title is. “Th© 
Tragedy of the Great North Road.” 

PHYLLIS. 

Answer—We understand, on the authority of the 
Cosmopolitan publishers, that through In ad- ( 
vertence. the printer pieced " To be continued” 
at the end of the fragment of the story by It. L. 



GENERAL FITZHUGH LEE. 

Cdhsul General at Havana. 

makes you think of a piece of line china 
thatched and bearded with the purest of 
frosted silver. He has a striking face. 
IBs forehead la high and full, his nose 
straight aaid his Jaw Arm. He Is un- 


Ho stands as straight as a West Point cadet, 
and though he is now B0 he moves about with 
all the vitality that he showed when he was 
in the regular army In Texas about forty 
years .ago. - 

Fitzhugh Lee’s Great Indian Fight. 

I found General Lee very loath to talk 
atyout himself, and 1 had to ask many ques¬ 
tions to draw him out. During the talk his >he Southern army. General Lee. How 
service in T^xas as a lieutenant came up. jour troops compare with ours? 1 
and I showed him a statement which his 
^friend, _MaJor Hayos, had matlg concerning 


went on to Richmond. Soon 
after this ^.ong bridge and all of the other 
avenues out of the capital were guarded, 
r got away just In time, and 3001 ) after'sent 
n my resignation. I then entered the South- 
■m army and remained lu it until tbr war 
closed." * 


The Cavalry of the North and South. 


“What became of General Lee’s rtpers?" I 
asked. 

Many of them were lost on the n; from 
Richmond to Appomattox,” replisd Fitz¬ 
hugh Lee, "and these were never recovered. 
His letters to his wife, however, aere full 
of details and descriptions, and I had the 
advantage of these lu writing my life ot 

“What kind of a writer was Robert' E. 
Jbaef" 

•'■Very . clear and lucid," was the reply. 
“He was a man of the highest character 
and his soul was a most beautiful rae. He 
was pure in thought and word and nearly 
everything which he wrote coul.l be pub¬ 
lished without change, even to the dotting 
of an *1* and the crossing of a 't'” 

Lee Utter the War. 

“I suppose he was very poor Then the 
was closed, was he not?” 

“.Vo,” said the general. "Robert E. Lee 
came out of the war without great Snancial 
less. He bad quite a lot of money which he 
had Invested In stocks and bonds before the 
war began. He kept these, and they had 
risen in value. He tost something, of 
course, but nothing in comparison with 
many other well to do men 


of the South 

„v„„ k , , . I Thl, mos£ <»/ cur People turned thsir stocks 

You were a- the head of the cavalry of Into confederate money at the beginning of 

the war and this foil day by d»r as wc 
ueared the end, until It was at last noi 
worth more than 10 cents a yard," 

“What did Lee do after the war had 
asked. 


did 


very anxious to take him with him 


“I think our cavalry at the beginning of 
•e war was that of iv. v. -'-a 

fey’Wf'nu’tT'he 


A is ueese an 
In which It Is, fout] 
able as grass. It 
of animal or vegel 
dissolving Influenc 
no effect upon it. 
centuries,' by whlc 
to geologists ate 
porceptlble lmpriut 
embedded In them.J 
Is of the roughest 
known, it is really] 
soap or oil. Seen 
tow : . the fiercest 
and no known ccj 
destmctlvely affe 
strength of Its flb 
post] re to its actio 
Indestructible. KJ 
tiers It a compiej 
but beyond this 
Industrial value ij 
non conduction 
well as by Its 1ml 
cal Insolubility In' 

Where As 

Asbestos has bee, 
the globe. It cryi 
Australia, Sp 
many, Russia 
aila, NewfoUn 
this country | 
America. Sc 
opinion of el 
discovery ofj 
the sample 
much Inf, 
different | 


Jgfy gs me solid rocit j tojloypj. turiuer. wttniu u.o lows. o> .no irua 

Apparently as perish-I asbestos The wily art of salting Is not un- 


folder than any order 
life on earth. The 
.time seem to have 
I tlon of unnumbered 
lardest rocks known 
luvay, has left no 
|he asbestos found 
1) much of Its bulk 
J'St gritty materials 
lioth to the touch as 
fas combustible as 
lannot consume it. 
lion of acids will 
appearance and 
after days of ex- 
I In fact, practically 
listible nature ren- 
Ition from flames, 
\uable -quality. Its 
^augmented by Its 
ltd electricity, as 
Toperty of praetl- 


Found. 

In all quarters of 
Fltaly, China. Japan, 


known In these regions. It consists In driv¬ 
ing fine asbestos fiber Into crevicos of the 
rock which have been previously primed wlti 
the Interstratum pf leathery consistency and 
possibly a foundation of asbestos. In this 
way many concessions for mining on abso¬ 
lutely barren rock have been sold at. high 
prices. While the Italian asbestos possesses 
a larger percentage or magnesia, it Is poorer 
In alumina and holds more water than Can¬ 
adian. The Italian, obtained In long libers 
—sometimes reaching three feet—cannot b« 
worked with the same ease and evenness as 
the Canadian. The product Is not so util 
form and Its greater density and welghl 
render It more expensive and less desirabl. 
for general use. A further radical dlaa' 
vantage Is that while Canadian asbestos Bin 
can easily be spun into thread for manufaci 
uring Into rope or cloth. Italian cannot be sd 
spun commerically. For manufacturing pur 
poses It is separated Into three divisions: 1. 
The long fibered quality, which is set asldt 
for spinning and weaving. 2. Tho shortet 
abered material, which Is made Into mill 
hoard and paper. 3. The powdery material, 
part of which Is converted into cement, palm,' 
while 


rium, this mortality . r— r.. . 

ialf. In torpedoes the difficulty oL dealing 
vith the charges ot wet gun cotton is over¬ 
come by inclosing them in asbestos, the em¬ 
ployment of which has also. In a great meas¬ 
ure’, brought the dynamite shell to its present 
eliciency. Asbestos is made into a cloth 
—available for aeronautical purposes. A bal¬ 
lon made of this uninflammable material es¬ 
capes one of the most terrible dangers to 
which an ordinarily constructed baloon is 
liable. Probably one of the first applications 
of asbestos in this country was to roofing. 
To buildings covered with this material the 
shower of sparks from a neighboring confla¬ 
gration involves no danger. The output is 
enormous. It is said that one New York 
manufacture!- makes daily over two miles 
length of roofing with a special fireproof coat¬ 
ing for this purpose. The demand for fire¬ 
proof paints and coatings is continually in¬ 
creasing. The fact that woodwork can, by its 
use, be made inflammable has come to be 
au important factor In the insurance of build¬ 
ings. One of the largest branches of asbes¬ 
tos manufacture ^s that of sectional cylinders 
for pipe coverings, for retaining the boat of 


.'steam and other pipes, felt protective cover- 
. u,(i n g 8 f or boilers, rrosipmor protections for gas 
kalL Hungary, Ger- j ^ c -« "'bile a considerable quantity Is soil] or water pipes, and cement felting, which can 
nentrfl Africa Can- agriculturist* as a manure for vine stock he laid on with a trowel, for the covering of 
amt <,thw- n irtK of iL" a, <1 u ; a P^vonttvc of tnlldew and I. Steam pipes, boilers or stills. Zn some of 

. and other parts of des.royer of the phylloxera. , he se cases, where It Is only necessary to 

Imthern and Central - o , I retain tb6 heat, the asbestos is mixel with 

|k passes without the a * e Greaf Asbestos Region of U *, su i, slance8# but where the protection 

asked on some new , World. I must be fireproof as well, only asbestos is 

„ substance. Most'of [ 0 . .y,. . . . ilused.^ The utility of suc.i covering is well 


■■■ . , , , . jDg. He brbllZh^^^vnui ec nuui ana uumv 

aha, but owfny to the rules of the service t jj e the KJ^rment paying him for Its 


mC rse from his home 


use and keep. The result was that we had be: 
ter horses than the North. Then the rank and 
file of the cavalry were made up of men Of 
g.od education and standing and in most cases 
of men ci seme means.” 

“Did you yourself think at the start, gen¬ 
eral, that the South could succeed?” 

Yes, Z believed and nearly ail the South¬ 
erners believed that we were almost sure 
of eventually succeeding. This was the case 
at the battle of Gettysburg. After that we 
changed our minds and gradually came to 
■see tbai the Northern forces wpre so superior 
that they could bea> us in the end.” 

"Suppose the war were to be fought over 
again.’would the result be the same?” 

"No one can tell,” replied General Lee. 
"Had we the same forces now that we had 
then and added to this the benefit of our ex¬ 
perience, thev result might bp different. But 
still, what the South could have done might 
have been counterbalanced by other ac¬ 
tions on the part of the North, and no one 


was not able to accomplish his ond. He read 
the statement very carefully, and said that 
It was substantially correct. The incident 
occurred in 1860. Fitzhugh Lee was a lieu¬ 
tenant at the time and Hayes was a bugler. 

Both were In service at Colorado, Tex., when 
the scouts reported that a body of Indians 
had massacred some setfilers near by. The 
officer commanding, .Major Van Dorn, a; 
once took Lee. Haye* and other soldiers and 
started in pursuit of the Indians. It was In 
the winter, and it was snowing hard. They. 
marched sixty-eight miles in less than two 
days and finally came upon the Indians on a 
rldgo of timber. During the charge the troops 
became separated, Fitzhugh Lee and Hayes 
going together in pursuit of two Indians who 
were making for the timber. They killed 
one before they reached the woods, and fol¬ 
lowed the other for several miles through 
the trees. There was much snow on the 
ground and they could see his tracks. Fi¬ 
nally they came out of the woods and in the 
distance saw him hiding bepind a ledge of 
rock. Lee at once rushed toward him, firing 
as he ran. The Indian shot an arrow at Lee. 

It struck him, passing through his arm, and 
breaking off. A moment later th4 Indian, 
who was a chief of more than 6 feet in height, 

Jumped for Lee and tried to stab him. Lee 
had a revolver in his right hand. The Indian 
grabbed the oarrei. The revolver went off, 
hist the Indian was not hit, the pistol drop- 

six 

- 

cw ills a 

around him and hugged him for dear life 
The Indian tried again and again to stal 
him, but Lee held tightly to him, and the 
two swayed to and fro, packing the suow un¬ 
der their feet. 

" Virginia Back Heel Trip." 

“At this time,” said Major Hayes, “I start¬ 
ed to Lee's rescue, but I did not dare to shoot, 
as both Lee and the Indian were twisting and 
writhing, so that I could not be sure of not 
killing both at the same time, or Lee instead 
cf the Indian. As I approached, however, I 
saw the two fall to the ground with Fitzhugh 
Lee on top. Ar. they went down they struck 
the ground not far from the revolver. Lee 
saw" it. He grabbed It and shot the Indian 
through the head. The mouth of the savage 
was open at the time. He was Just about to 
give one of his terrible yells, and the ball 
went through his cheeks and mouth without 

•..r-.-.ft a UiGiu, A rcOuitu iuvCi 

charged the revolver again, the ball this time 
going through the Indian’s brain. The savage 
at ouce relaxed, his head fell back and Lee 
rose to his feet. He first shook himself and 
-felt of his body to see ff he was wounded, for 
the knife had cut his coat. I asked him how 
he felt. Ke*replied: ‘Oh. I am all right now, 
and my muscle is in goed trim. I used to'be 
very fond of wrestling when I was at college, 
and It'was my knowledge of wrestling that 
saved ray life to-day. When I first grabbed 
that Indian I thought he had mo. but at the 
last moment I remembered the old ‘Virginia 
bark heel trip,’ and that brought the red I 
skin down.’ ” ' un tell what the result would have beea. 

“Yes. that's about the truth,” said Fitzhugh The war Is, however, over for good between 

Lee. as he looked over the above story, gj® North and the South. The sections are 

“Hayes was there, and he saw the fight, bur inked, and not divided.'” 

if you publish it give It as coming from him "Suppose, general, ihe South had suc- 

and not from me.” * 

Row Fitzhugh Lee Entered the Confeier- 



TnonVy* .?r; 


quality, very | the Italian asbestos Industry, once_ 

U imr irtant, is already on the down 
> Th difficulties of 


To the Editor of the Brooklyn Eagle: 

Was St. Louis visited by a tornado or cyclone 
In 1872? Were any lives lost, and was there any 
great amount of damage done to property? 

H. S. K. 

Answer—It appears that a cyclone visited East 
St. Louis In June. 18S2, when the principal de¬ 
struction was along the water front and in the 
railroad yards. Between sixty and seventy lives 
were loat, boats were blown from their moorings 
and sunk with all on board. There have been se¬ 
rious overflows from the Mississippi river about 
half a dozen times In the last ^eighty years by 
which portions of the city near the river front 
have been submerged, and much damage done to 
dwellings and stores. St. Louis was visited by - 
fire on the night of May 17, 1849. the result of 
which was the destruction of property valued at 
about $3,000,000. 

To the Editor of the Brooklyn Eagle: 

Could you inform me If Seth Low, president of 
Columbia college, has any scholurshlps to that 
Institution for young men of this city? If so. how 
are they conferred? A. H. S. 

Answer—Twelve scholarships, founded by the 
trustees of Columbia cpllegt. In 1^95, In recognition 
of the gift, by President Low, of a memorial build¬ 
ing for the university library, are open for com¬ 
petition to candidates for admission to Barnard 
college, who are residents of Brooklyn, and have 
received their training in either the ’ public or 
private schools of this city. Three of these schol¬ 
arships will be awarded annually, beginning with 
the year 1896, to the three qualified competitors 
who are examined at Barnard college in June and 
pass complete entrance examinations In all sub¬ 


in the heatjj 
w main 


ystem of railroad I &**■ Earh -cholarshlp entitles its holder to re- 
hk’h the tndl- celve lh * 8U,n of * 150 l>er ftnnum during the college 


J»ut If she fall to malntam 
ado C In all of ihe 


cepred the presidency of AVashln^'. w college handle, 
at Lexington. He was for five year? president of slag wool, 
of this institution. He reorganized it and built 
it up in many ways and was still Its presi¬ 
dent when he died, in 1870, in the 64th year 
of his age. 

FRANK O. CARPBNTER. 


£.>157" OF THE IROQUOIS. 

His warlike cry Is heard In vain. 
Along the Mohawk's rolling plain. 

He seeks, alas! In solitude. 

The lost companions of the wood. 

The children of his savage youth 
Hath learned c’re this the bitter truth. 
That In this broad and mighty laafl 
The red race proved the weaker bard. 

Full ot this truth his tribe enforced. 
AVhen Huron trail the Seneca cro.*M, 
While ’neath the Hudson’s ebb aniflow, 
Algonquin felt the Mohawk's blow. 

All ages In the book of time, 

.All kings and chiefs of Caesar’s line. 
Have long beheld this rueful sight, 

A race to rule by right of might. 

But ages In eternal doom 
Have faded, vanished, in the gloom. 
And Caesar’s dust is blown abroad* 
Eternal rule belongs to Go-1. 


nkin. The 
silky, Its'sllv 
sembllng skein 
while Ute sin 
rough and rugg 
they come. It 
the appearance 
ceptlve as a gauge - ' 
the points mmt stmg 


Tik^PPSncles 
Flilously penetrate, the 
Hety Is long, soft and 
lor pah- gold tufts re- 
Jwound from a cocoon, 
fandlnavian forms are 
he country from which 
said here that while 
tns Is often very de¬ 
lls commercial value, 
for In the mineral are 


hot easy To spi 
and tT”Soes no’ pulp well In the making tf 
paper. The best grade Is extremely rar 
and Its cost of mining and transportation h 
prohibitive. The supply from the I taj I 
mlneB le rapidly falling off. As a matter I 
fact Ganada contains the great asbestos r« 
glon ot the world. In the sense, that while il 
mines aee practically unlimited In produa 
the capacity, the product Is of a quaMlj 
which fully meets the requirements of tin 
newest and most exacting of the iunumerabk 


\v> nhclt'r 


I 


A 






-n. 






The black gown sleeps beneath the tod. 
Whereon he lived and died for God; 
Oneida's sons are lying low, 

Beneath Lite sun’s exp|rbig glow. 

Of all this tribe there Is but one; 

He goes toward the setting sun. 

No child nor kinsman, friend or foe. 
Khali witness Onondaga's woe. 

No force In nature charms his soul; 

The llghtnlng'a flash, the thunder’s roll. 
The noonday sun, the moon's pale re)\ 
All fail to soothe his savage way. 

Then hasten on lost Iroquois. 

For thee there i» no peace or war. 

No sign of wolf nor trail of bear 
Shall call Cayuga from his lair. 


GENERAL ROBERT E. LEE. 


acy. 


«eeded ?' 

“In that oase there would have • been 
mother great republic south cf Mason and 
hixon’s line. The country would probably 

Sa- 


I here asked General Lee how he happened _.. 

to enter the Confederate army. He replied: *, ave been Rrea * elites, to a large extent 
“Before I resigned from tho Union army I laonopcfllzing the trade of the South, and 
waited to see-what my father and my Uncle having in all probability a great trade with 
Robert would do. I was. you know, about Europe.” 

25 years old at the' time. I had been ordered 7 ’/ ?e Solid South and the Negro. 

from Texas to West Point to serve there as ,,, 

instructor of cavalry and I was acting as such “How about the sol.d boufli. general 
at the breaking out of the war. i wrote my Many Republicans believe it will be broken 
father and uncle and asked them what they durlajg the coming campaign.” 
were going to do> IMiey replied that they *«j j t very doubtful,” replied General 

were not certain as yet. bui at last I saw a . . _ . , .. . „. 

report in* the No tv York Herald stating that " eo - Our people are too uiuc.i aifraid of ho 
* . . . . . • . *».m • in of n m#>as»irr» Ilka 



through th: 

is this class ut maill 
sponge. It is not gem^^Z^HI^Hythat 
sponge has great powers ot fire resistance. 
The discovery was made accidentally not 
long ago, and the result was that a consign¬ 
ment Of scraps of sponge picked up on the 
Southern coasts was ordered for experimental 
purposes. The sponge was finely comminuted 
and mixed intimately with asbestos fiber. 
The combination was found so successful 
for any- cohering ^vhicif had to be fireproof 
as well as heatproof that the material has 
become standard. Being full of air cefls 
It necessarily "makes an excellent non-con- 
ducter. Another very extensive department 
In asbestos manufacture Is that of packings. 
Of these there are an infinite number of 
forms. In these days of high pressures and 
ocean record* it Is or supreme Importance to 
marine engineers that they should have 
Jointing and packing materials on which 
absolute reliance can be placed. In order 
to meet modern exigencies every possible form 
of packing has been constructed, particularly 
with asbestos and metallic wire, and with 
asbestos and rubber cores for gland packing. 
The making of asbestos paper varies from the 
building up of the thickest millboard to the 
production of a writing paper which, from its 
indestructibility. Is Invaluable In case of fire 
for preserving charters, policies, agreeements 
and other Important documents. 


To the el 

lutely indispensable. Many parts of electrical 
devices and machinery and wires ’ through 
which the electric current parses, become 
heated, and were It not fur the electrical insu¬ 
lating and heat resisting qualities which as¬ 
bestos possesses, the apparatus would be com¬ 
pletely destroyed, particularly In the ease 
known.to elcctrictans as "short circuiting.” 
For such purposes It has been found advisable 
to combine asbestos with rubber and other 
gums, and this combination is now used uni¬ 
versally for not only electrical, but also steam 
and mechanical purposes. 

A considerable part of an asbestos factory is 



orfelt thq b 
writ* Y>r In? true:loan 
Llg-getw, 157 Willow street, BrookT? 

To the Edithr of the Brooklyn Eagle: 

Can you give the name of the writer who Is re¬ 
sponsible for this phrafie: “The pulses of the brav« 
unextlngulshed in the grave?’ EXTRA. 

Answer—The sentence quoted forms most of a 
couplet belonging to a poem by Peroy Byssho 
Shelley entitled “To the Republicans of Nortiz 
America.” The poem Is as follows: 

Brothers! between you and me 
Whirlwinds sweep and billows war; 

Yet in spirit oft I see 
On thy wild and winding shore 
Freedom’s bloodless banners wave, 

Foel the pulses of the brave 
ITnextingulsh'd In the grave. 

See them drencht In sacred gore. 

Catch the warrior's gasping breath 
Murmurlhg "Liberty or death." 

Shout aloud! Let every slave. 

Crouching at corruption’s throne. 

Start Into a man. and brave 
Racks and chains without a groan; 

And the castle’s heartless glow. 

And the hovel's vice-and woe 
Fade like gaudy flowers that blow— 

Weeds that peep, and then are gone; 

Whilst from misery's ashes risen. 

Love shall burst the captive's prison. 

Cotopaxi! bid the sound 
Thro’ thy sister mountains ring, 

Till each valley smile around 
At the blissful welcoming! 

And O thou htern ocean-deep. 

Thou whose foamy billows sweep 
Shores where thousands wake to weep 


Can the day star dawn of love, 

Where the flag of war unfurled 
Floats with crimson stain above 
Th* fabric of a ruined world? 

Never but to vengeance driven 
AVhen the patriot's spirit shriven 
Seeks In death its native heaven! 

There \o desolation hurled. 

Widowed love may watch thy bier, • 

Balm thee with its dying tear. 

1 \) the Editor of the Brooklyn Eagle: 

How did the state of Now York come to havp 
Jurisdiction of the Hudson river on the New 
Jersey side up to high wate* mark? 

WILLIAMSON. 

Answer—Buth New York ond New Jersey formed 
part of a grant by Charles II to James. Duke a# 


.For thee the vail ot time Is rent; 

Thy race Is run. thy day is spent, 

^Anii commerce by her ceaseless roar 
— — . 

JOSEPH P. CONWAY 

STRENGTH OF ITALIAN WOMEN. 

Three Italian woman at a Fifth avenue cor¬ 
ner were preparing to carry away about one 
cord of scran lumber that had been thrown 
into the street. The first pile that they lashed, 
with a long rope seemed to be neatly three 
feet high. Two of the w’omen lifted It and 
balanced It on the head of the third, who 
staggered under ft at first and the* moved 
swiftly away, her head and shoulder) motion¬ 
less and her hips swaying with a lateral mo¬ 
tion. The two women remaining thw lashed and Texas, also 
together another »te.ck of the short lumber I Pennsylvania is 
and lifted it shoulder high. One of them got pearan<-e' like foss’ 


I devoted to weaving, the asbestos being first : York, the grant , unin* with it all the Islands. 
I drawn into thread for that purpose. Here: anils, rivers, waters, hartsvrs, royalties and certain 
i !again is an apparently /endless diversity. : l-wcrs of government In and over the some. 
There is the fireplace curtain blower, which, : After the grant of Now Frey by the Duke of 

■ . . I a* ...l. . . T -. h- I D...I# « n. I aft*- )T/,, .iwrn f'srtoruf 


with an automatic spring roller attachment, 
i takes the place In th> frame of tho fireplace, 
ot the less sightly sheet Iron blower; and fil¬ 
tering cloths for many purposes, from stoain- 
ng molte^inetaj^m clarifying sacej^ine 

made for straining and filtering acids and 
kalies In-chemical laboratories. This Is spe¬ 
cially useful when the liquid to be treated is 
of a caustic or strongly acid nature. The fil¬ 
ter can be thrown in the fire and after the 
residual matter has been consumed the web 
is as good as now. For filtering purposes 


York to Lord Berkeley nrul Sir George Carteret 
and upon the division of New York and Notv Jer¬ 
sey into' ncparate states, a dispute arose a s to 
the Jurisdiction ov>'r the waters of th ^ 
river as well as aver t he la 
Numorouh 

of the dispute. No such settlement 
was reached, bowevor, until 1833. The commission¬ 
ers appointed In that year entered into an agree¬ 
ment as to the disputed boundary and Jurisdic¬ 
tion. which was confirmed by New York on 
February *5. by New Jersey on Fetorrary 2G and 



fhe length and 
with intuslbility, 
Tli 


Typica 1 Asbestos Mil Ing Camp in Canada. 


IS db KOO!.l ah Itvn . » UI 1,1 IV 11 , 1 ^ j/vwwu - ... , 

generally asbestos has a unique adaptability, by congress on June 2S, 1K34. It became binding 
and in tropical countries It Is held in grateful \ on both states as si.in «s confirmed by congress 


The asbestoe gt 
States, especls 


[lexs of fiber, combined I uses that are daily being found for it. Tly 
hness and llexlbillty. , district lies in the ea tern townships, t 
found in the.United i covers an area of about two hundred miles n 

Virginia, the Garolina-s length, by six or eigtu ;,!!.•> vide. Neary 

- . , , . , , ... , .. Island, New Jersey ami the entire yield is consumed It America. On 

her head under it. straightened up »uddenly range In length from he woody form. In ap- of a total export of etude ► ft >ni the 4>- 
aud with a little shifting about sen a had the feet. Thejlber ^ujjized wood. The veins, minion, of 3.936 tom. In !--■ ess tlur, 

& few Inches to several 3.612 were taken by the '.’nlte sin ■ 

e split off like soft wood, that time the output has m. i. t sr .loubiri- 

(Homrhi It mirfi- ' wooIly and ' vhen *ei«- i indeed, it has been over eight I .and to s 

was though. It mlgh ^ or cohesion, it can- for the last few years T!. ing i .. 

filler In paper makb p U i pe rt. At one time It 1 marketable asbestos Is *••:,. , frel, 

no commercial vaf. ^ * profltably used as a , fracture, a septmtine of , .. J 

ig. but virtually H is of ] In which an contained p» 

ue. This and kindred j tides of Iron, both magn-i n .o . TV 

often be«n lnetrtimen-■ asbestos, when separated ifi: i , x -h’ 1 


illltl tew v- . ■-> - * --1 ■ . . 

burden so nicely balanced that she dlfl not the appearance beini 

have to touch it with her bands as she car- rated It has no stren 

rled away. The sidewalk had been crowded not be spun nor evet 

w ith spectators. They seemed more than In- " u ' “ ~‘~“" 

terested lu watching the third wotiau, who 
was busily, rfuttln* a long cord around all the 
remaining lumber. It made a big pile and classes of abestos ha 
the bad seemed out of all proportion with the tal *n 'he creation 


ere never to be re 
recently caused by t| 
whole mountain of 


estimation as a cooler and purifier of Water 
The newest departure In tbe asbestos field 
is the construction of electrothermlc appar¬ 
atus The heating effect of the electrical cur¬ 
rent is utilized by embedding the wire in an 
asbestos sheet or pad. Tho pad Is used by 
physicians and nurses for maintaining artifi 


This agreement was, briefly, as follows; Ths 
boundary line between the two states was de- 
Vlare .1 to lie the-middle of the Hudson river, of 
the bay of Now York, of the waters between 
Staten Island and New Jersey and of Raritan bay. 
New York was to retain Jurisdiction over Bed- 
tow’s and Bills Islands and other Is-lands under 


brown and leathery little woman i, the be¬ 
draggled calico. However, she dNnl seem to 
think so. She fussed around and tied the ( 
r lie and then tried to swing the wjole stack covered In Oregon 
of !> ards up on to her head, it was loo. v *0‘ from H an .ln< 
heavy for her. She careened wildly and the an<1 t0 of ex'-ellenj 
load slammed down on the pavemeat. Three " a9 r " a 1 de thr” u <]' t' 
times she tried and failed and the cjowd was mountain side. T he. 
greatly entertained. Then a inao with a sllki ever, was dtocountei 
hat and a long coat walked out Into the street I .supplements 

and safd: “Permit me. madam.’’ Another ’J 1 ® flock had tramp! 
man hurried to his assistance. Tley lifted l threads showed up II 


they had both 'resigned from the so'rvlee. On re-enactment in some form of a measure like 
that same day 1 received a telegram from my be force hi.I to vote t.ie Republican ticket, 
father containing these words: ’Do as you "Ho* about the negro question? M hat 

1 Rr.Anmn r\f Ihn n r.Tfrk n n .. . u 

a oiuan’a bead. Tbe crowd rather eipect&fl to 

riwly e to ' t h I s' V me s s ago'' *bu t ° I "at once'wen" ' o control'tho'sta’OT. They 'c«n“« do" o”the£ hear her back break and see her knecsglve I Notwithstanding 
and got a seven days' leave of absence to go »ise. Our people will never submit tty tfie 1 way. )>“* I a*e»toa, the omy vi 

to Washington, intending to there offer my 
resignation. As I passed through New Yo-rk 
I met Phil Kearney, whom I had known be- 
for. He asked me where I was going and I 
told him I was going to Washington to re- 


ihero is no danger, but to give them the who had helped her or tbe crowd th,t grinned 
power and opportunities for mlsgovernment at her she moved away with the summer« 
ind corruption eucn as existed in the days of : stock of fuel slowing wearing her pony head 
w called reconstruction would be, to say the | dtxwn info her shoulders. Chicago lecord. 


a commercial point < 
the South African, t 
dlan. The principal 


Isions of wealth that a glistening, gray, dark green surface. Th f 
led. A sensation was fiber, which is easily separable by the ft-.* -* 
announcement that a Is white and silky and well adapted ■ > te, 
sbest IS bad been dls- manufacture uf textile goods. The methi"! • 
fie fiber was reputed to mining is entirely different from Hint folio* ■ 
to 2 inches In length In Italy. It Is. in fact, quart vitig more 
'quality The discovery mining, as the surface of the rock J, - rl. 


■ial heat In local applications, and is said to the Jurisdiction of tlie state at the lime. New 
h» already largely uspd In hospitals. Another York was to have exclusive Jurlsdlctkai over all 

application of the same principle Is to car the waters of the bay of New York and over all 

heaters. A sheet Of asbestos, with the em- the water* of the .Hudson river ly.ug west of 

nodded wires, 1s clamped between two thin Manhattan Island and sooth of the mouth of. 

steel plates, and the portable heater thus pro- Spuyten liuyvel creek, and over the lands covered 

vlded. or a series If need be. Is connected to by wild waters to the low water mark on the 

, the car circuit quickly and easily. It gives an New Jersey side, subject to the billowing rights 

II ... even and healthy heat and can be so regulated of property and Jurisdiction of the state of New 

" 1 ## not to overheat the car. j Jersey: (a) New Jersey t.. have exclusive right of 

Although tbe list of tho app]!cations*of as- property In land under water lying west of the 
bestos is already bewildering, tho adaptability ! middle of the bay and river; (bj New Jersey to 
of this marvelous product In new fields seems have exclusive Jurisdiction over all wharves. 

Illimitable. In these days of scientific j docks and improvements on the shore of that 

growth an 1 quick resource. It Is hard to fore- state and over all vessels aground on that shorn 

tel! the scope and destiny of any grc&tllndus- or fastened to any if the wharves or d-vks, ex- 

■ept that these vessels should be subject to t!t« 


trial Innovation; but it may safely be said that 

__ v . Kgfpj t he manufacture and utilization of asbestos health and quarantine law* of New York: (<•> New 

e herding of sheep on a and the cut Is carried down nut'll li'rearV* will for many years to come constitute an in- j Jersey was fi> have exclusive right of regulating 
value of the find, how- the asbestos carrying serpentine which • lustry that will occupy a leading place In the ; fisheries on the western side of the water* rut¬ 


in the eyes of expert* then removed and sent to the top of 4* 
statement 'oat where quarry. The refuse rock, of which there -s 
-d tbe rock the asbestos always an enormous quantitv (possible tw»- 
te bunches of wool. ty or twenty-five tons to one of asbetosi * 

loaded Into cars, run off and shot over t ■ - 
mported Vnneties. dumping ground. The ro< k is passed djrc 

is wide distribution of 'S’ ' nto " le "cobbing" sheds, where boy* Hip 

-ietles which at present or ! co !!’’ thp orR tr,,m ll - The <>r »’ ts <" l ’ : > K 
, up In bags and stacked away for shipment, 

ious considera-lon. from 0p arrlvlug ttt thc factory Ulc £ uue „ 

f View, are the Russian, bestos Is placed undty a huge roller, wbi’ 
e IUll q and the Cana- Instantly reduces it to a clinging mat IBs 
claim pt «ssed by the fibrous mass. This Is rapidly passed through 


commercial history of this country.—George 
Hell Guy. _ ____ 

FOLK FLOWERS. 

White, white, with a golden mosaic 
Set lnt 6 their disks of snow. 

June's ivrod 1 gal daisies toss and away, 

A* the winds of the summer, blow; 

The idle, the Jubilant daisies! 

Vngaihered,* unnurtured, uns»nvn— 

No promise of harvest In petal or blade. 

They bloom for the meadows alone. 


vlded navigation l*e not obstructed or hindered. 
The state of New Jersey was to have the like 
Jurisdiction, with the like exceptions in favor «>f 
York, over nil the waters of tfie sound between 
Staten Island and New Jersey lying south of 
Wood bridge creek, and over all the waters of 
Raritan bay lying westward of a line drawn from 
the light house at Princess bay to the mouth of 
MatUtwan creek. Criminal or civil process 1 swu.n 1 
under the au-thorlty of either state may be served 
upon any .*f the waters unless the person or prop¬ 
erty shall be on board a vessel aground upon or 
fu-itaneu to a wharf adjoining tho other 


4 






















































































































SUNDAY, JUNE T, 1800 . 




A GREAT ARCHITECTURAL COLLECTION. 

S 

U The Institute Will Possess the Results of Professor Goodyear’s 
jj Discoveries in Italian Aft. 

v eanatK3oic8s»GpeXfiiDeaQaatfi£ # gsaa o^ anae garaag sacgggsz 


'HEN the museum of art of the 
Brooklyn Institute opens Its 
doors next winter. It will occupy 
a unique position among the mu¬ 
seums of the country. Like 
“ many other good things, great 
art museums are not made; they grow’; yet 
It Is more than likely that the new Institu¬ 
tion will at once take a commanding place 
among its follows because of the simple fact 
that It will contain the results of a series of 
extraordinary discoveries in Italian medie¬ 
val architecture. 

About fourteen months ago Professor Will¬ 
iam H. Goodyear, formerly curator of the 
Metropolitan museum of art. submitted a 


but had left the question open whether th< 
cornice really sloped or the arches unden 
neath It fell. He ventured the opinion thai 
the facade of the cathedral had settled. Noj 
so young Goodyear. “Not knowing what tbl 
slope In the cornice meant or how It got! 
there,” says he, "I went around the city loofc 
Ing at the walls and tho buildings. Final! 

I came across a little church known as Sal 
Stefano Outside the Walls, and I noticed j 
cornice with large arches at one end anl 
constahtly diminishing ones toward the othsf 
It occurred to me that I should go inside thl' 
building. I did so and found a tremendo* 


scheme of dropping arches—all In a little 
village church that is never visited by fof-1 
eigners. It gave me the hint that something j 
of the kind was going on in Pisa cathedral." 
Mr. Goodyear returned to Pisa and spent 

... . .. „ _ ... . .. ..a week lu observations and measurement!. 

pnjposltlon to the Brooklyn Institute to make H|a work oatabll8he(I 8( . vera l conclusions •» 


at his own expense a survey of more than 
hundred Italian churches and cathedrals, pro¬ 
vided the Institute paid the hire of an expert 
with the compass and camera. Spell an ex¬ 
pert was found In the person of John W. 
McKecknle, the well known architect and 
teacher of design. The party sailed for Ge- 


hls own mind. I*lrst, that the cornice doei 
slope. Second, that there Is a corresponding 
drop in arches, producing on the beholds 
a dpublo optical effect. Third, the west front 
of the cathedral leans forward from the 
perpendicular about fifteen inches. Fourth 
that the heavy middle string course of the 
tide walls Is oblique by construction. .Fifth, 






Besses^ 

i-.t 


« J 



■ ~~ 4 *r 

or three arete* 

• »« 


15 


( observed that the first two 
j increase In size. This throws tho visitor jo 
tho track and the . fact that the remainder of 
I the arches dinllnl^i in regular order is #*‘1 
down to •ordinary perspective. At Siena tbt 
two arches which span tho nave at the 
transept arc itipposed to be of the saiPI 


which a disc marks tho perpendicular eleva¬ 
tion of the pavement at tho chair. Tho disc 
is higher than the back of the chair, tho 
total rise being about throe feet. 

Another trick which Christian buiiders*may 
have borrowed from the temples of Isis and 
Osiris was the use of the bulging cornice in 


height; actually the second and further arcli j inner courts to produce the effect of increased 


is live feet lower than the other. In »U 
obese cases photographs were taken from tbe 
point of view showing the actual discrepancy 
in size. 

Not only do arches drop and walls curve 
in Italian churches, but the pavements gradu¬ 
ally rise 1° elevation from the entrance 


height. The device is employed in cloisters 
in many parts of Italy. Conspicuous examples 
are tho cloister courts of Saint John- Lateran 
and San Paolo fuori le Mum, Home; at Sas- 
sovivo, cloister of the Oelestines, Bologna and 
the Certosa of Pavia. In each caso the ques¬ 
tion of accidental thrust was carefully ex- 


toward the choir. When combined with fbe amined. Of instances of converging walls 
diminution ’of the arches in the same direr*- * only five wero discovered. Tho old Byzantine 


which proved that the inner courts of the | same care as 
Egyptian temples at Karnak, Luxor and Ed* 
fou bulge in convex curves to the center, 
and that the cornice of the*Maison Carree, an 
old Graeco-Roman temple at Nimes, France, I Italian officials 


curves convex)? tc the beholder. These 
were bits of evidence in a chain which Pro¬ 
fessor Goodyear now thinks firmly forged. 

While professional and scientific men felt 
an interest in Professor Goodyear’s earlier 
theories and observations mey and the au¬ 
thor, alike, knew that the investigations must 
be broader in character and of an accuracy 
expressed in the finest measurements to lat 


tain epoch making significance. To us 


the national treas 
Jen sought it was- 
nlbus permit from 
a:. I photograph ulfl 
eJrals of Italy. Thtid 
favor, and has beani 
quest of the Amerlo 
letters from Profess 
National msaum ad 


' 


Q ees and angles I in air. ft is the only one ever made showing j 
the wellfti which the tower Is built. I 

Concerting the Intention of the hien who 
built the baptistery I’rofeseor Goodyear feels 

t __ uuder no hesitation to speak. Measurements 

compllsfh the oh- of the masonry cuttings convinced him that 
the loan of the big dome shaped building 
wis Just as carefully conceived and as care¬ 
fully extjuted as that of the cathedral facade 
or he cn-ve of the cathedral cornice. 

^ __ A phanmenon found In large amount by 

lbassy!"*Anned with [ Fro'easaj Goodyear among Italian churches : 
Brown Goode of the 
ashingtoii, from 1)1- 
Ithsonlan instiiu- 


was tha of spreading piers. Conspicuous ; 
exam det are found in Santa Maria della 
Pieve at Arezzo, Perugia. Trani In south- j 
rfi i 


.'tflSould be attached to the phenomena'ln lNsu, I fortunate as to oh 
and this was necessarily reserved for a later 1 his surveys, the only r 


•V 


Ruction 

cane blanche for 
iil.o being that three 


U1 r 




Ih 




r 


LEANING TOWER OF PISA. 

First Picture Ever Taken From the Cathedral Choir and Showing the Well in Which the i 

Tower Stands. 

(Takon by John W. McKochnlw for tho Brooklyn InstiL 


% 


ML' 


9 




t # :i£ 




year. — servIcesY Five 
months of Irani work followed, during which 
tho party traversed the length and breadth 
of Italy, explored her corners and byways 
and studied equally the famous and the less 
accessible and forgotten monuments. Up¬ 
on tbelr. return to America Professor Good¬ 
year and Mr. McKecknle set to work to 
prepare their material, the former for pub¬ 
lication to the scientific world, the latter in 
the way of survey drawings and enlarged 
photographs for public exhibition. This task 
Is now nearly completed. During the present 
week tho friends of the institute and the 
general public will be afforded an opportuni¬ 
ty to view surveys and photographic en¬ 
largements at the Art building on Monta¬ 
gue street. 

Before speaking In detail of Professor 
Goodyear’s discoveries. It Is necessary to 
mention one fact concerning them. Taken 
all In all. they revolutionize our ideas of 
medieval architecture. Behind the obvious 
scheme of middle age building they show us 
a subtler architectural scheme which has es¬ 
caped the notice of Rttskin as It has escaped 
the notice of every other critic and'savant 
who has studied the subject. They indicate 
a knowledge of perspective effect and per¬ 
spective illusion, of which our modern archi¬ 
tects appear to be entirely Ignorant, and the 


shed ll#u. He tells an amusing experience 
In connrtkm with the drop of the cathedral 
arches tt Fiesole, where the maximum dimi¬ 
nution b the size of the archways is no less 
than eight feet—a difference which it would 
seem thf veriest tyro could see. "When I 
was in Fittole in 1870." says Professor Good¬ 
year, “Isaw the drop, but when I went away 
1 couldl't eonvlrice myself that I had really 
seed It. Twenty-five years later, when I left 
America on the survey, I couldn't find any¬ 
body In this country who believed I would 
find it. I expected to find two cases, but as 
a matter JM fact, I discovered thirty.” An¬ 
other itory illustrating how characteristic 
architectural features were sometimes lighted lations 
on by mere accident is as follows; At Pisa' ir "' 
Professor Goodyear had a man with a pole 



BEND, PISA CATHEDRAL. 

(Brooklyu Institute Surrey,Tailed by John W. MoKoolmle.) 


n this produces an effect of exaggerated I catht dral at Troja iu southeasterni Italy offe*- 
neniloD perfectly familiar to the scenic i d a curious case or optical mystification. On 
iicn-ion perie , sc .j m , uji one exterior side wall the cornice drops about 

well known to the builders <il a foot, the arches Increaso in span two feet 
MM temples. Tnd Profess* | an^tlm ■eapItaU dry «« f«)t In the same 


tic- 

dimension 
painter’s art 
device was 
ancient Egyptian 
Goody oar believes that with tho friendly rtj -1 
existing between the Christian Copa 
of Egvpt and the early Italian church ttl 
transfer to Italy was easy. There were ns 




fisvai 

T. 1 J5S«S\'p.?’IPl; 




r? 


- 


large rrenes 
nave have 

id that the southern wall ’i 
of thT"cathedral curves condavely to the ob- l 
server. In a word, young Goodyear found 
himsegf projected into a topsy turvy world. I 
in which laws of architecture were- set at! 
open defiance, where almost every straight | 
line was curved and almost every curved line 
looked straight, and where the evidence of 
the eye and the evidence of the measuring 
rod constantly contradicted eaclf other. 

, He realized at once that no theory of i 
masonry thrust or of settling foundations 
could account for the strairge phenomena. , 

He determined to visit edifices in other 
parts of Italy to ascertain if the Pisan 1 
style of architecture were peculiar to that 
town. He saw Florence, Pistoja, Venice, I 
Ravenna and Rome, and although the time , 

at his disposal was limited and some of visit, which from 1870 on I was constantly 




NORTH GALLERY CURVE, PISA CATHEl 

(Brooklyn Institute’Survey, Taken by John W. McKechul 


the localities he visited were not suited i riving to accomplish.” When after twenty 
to the best observations, he gathered enough EV o years of waiting the way was open 
to convince himself that the phenomena trough the co-operation of the Brooklyn In- 
discovered in Pisa wero not exceptional and , ; i:ute. Professor Goodyear laid his, plans 

*ith a care worthy of a survey of the Pa 


copies of each negate 
Italian government or 
of each town. 

Minutely to follow 
tho survey erxf,edition| 

WTWIBIIIBlBlObnBIBIIgBBirj ~ _ Wtt H _ I . reader. It Is easier 

r« o. the demarcation of the Canadian! the more obvious fact* 

Mundary line. For the first time in the his- -— • 

ry of the photographer’s art. so far 


m 


l dr 


Wwm 


; JMl 


illrecjlon. The effect Is to baffle and puzzle 
the senses to an extraordinary ijggree. 

, Professor Goodyear has tlius proved that the 
mediaeval builders used curved fines, lean¬ 
ing facades, bulging cornices, the dropped 
arch, rising pavements ami convergence of 
walls with somewhat different effects as de¬ 
manded by the time and the occasion, but all 
to one common purpose, viz., to alecelve the 
eye by playing on the sense of perspective. 
Of the fine lords and ladies, the substantial 
burghers and their wives and the laboring 
folk who passod In and out of church doors, 
few If any knew that ‘‘things were not what 
they seemed”; that the mighty proportions of 
the edifice and t|ie dim vastness of the In¬ 
terior could he attributed to th'o Brobdigna- 
gian tricks of the architect, and that where 
reverence was deepest ami awe most pro-. 
found there Illusion was doing Us most per¬ 
fect work. Yet speh was the case. Moreover, 
this art of prospective building was not the in¬ 
vention of the Christian centuries, though 
Christian builders may have t-arripil It to a 
high degree of development. It has not been 




SH v 




f, 


Ct.H 


lin-e sources. 


Thus 


*. us, > T\ ■ j* /. ’ifmk H I tho ctiKl of tho Greek 

1 tf.m. r—> (ifW/,/ ■’Mfynfwu gives us the curvHJnc 

3‘l Parthenon and the su 

oat,^ | of Theseus. And to g 


EShKI 












i 


that their probable origin was Byzantine. 

In 1871 Professor Goodyear embodied his 
discoveries and deductions from the build¬ 
ings of Pisa In an article fn Scribner’s maga- _ _ __ 

zine, entitle "A Lost Art." Professor mown, arrangements Were made fof photo- 
Charles Elipt Norton of Cambridge encour- iraphlng facades, wadis, galleries, columns, 
aged him in the prosecution of further labors uj arches, and entire buildings by aid of tlte 


the Byzantine, the Greek and the Egyptian 
In one common link, demonstrating anew the 
continuity of art. 

In the year 1870 William Henry Goodyear, 
then a young man of 24. was on a short 
trip in Italy, after throe years of post gradu¬ 
ate studyiln ih^ German universities. Pisa 
chanced to be the first town that he visited. 
Pisa has three great buildings^ the cathedral. 


e ,v;,u lecture. fn 187b he delivered 



the more difficult oneiJ 
Michele. Lucca, the 
characteristic facade./ 
extraordinary and gro 
columns, plain. corksc| 
ures and the like. Ea 


p should go to the 
the local authorities 

e times and places of 
uuld only confuse tho 
simpler to begin with 
Dserved and go on to 
At the Church of San 
ty photographed a 
>e picture shows an 
ue variety of carveTl 
fiutlngs, fancy fig- 
column was carved 
individual artisan, a 
Id receive from $3.5(i" 




-ffWl! 


1 


m 1 








lecture ; ; e camera Is Inaccurate. Only the point on 
menrs ” j Rich the camera is focused can be said 


on “Mediaeval Architectural Refinements, 
before the Century club In New York and i be reproduced on the plate with any degree 
afterward before the Society of Boston Archi- .i faithfulness. All the other points are In a 
tects. in which he not only repeated his;ioasure distorted. Moreover, The practice of 
former conclusions, but advanced a theorypotographing at almost any angle produces 
accounting for the purposes of curvilinear.uliqulties In the picture where the real lines 
building. In the eighties one of tho New i o straight and vice versa. To meet this 
York learned societies commissioned a Mr (fflculty Mr. McKenzie devised a method 
Newton of Boston to take further measure- . photograhplng with compass and camera. 



HffOTw a t , r-tsx- 


ltd? 



OBLIQUE LINES, BENT LINES AND LEANING FACADE, Sjsa CATHEDRAL. 

(Brooklyn Institute Survey Taken by John W. McKeohule.ll 


artisan apparently ex 
There is no sort of i 
columns similarly pi, 
be any. A still more 
that of San Pietre, at ' 
is a place "where you* 
cigar." Yot sotue of 
original work of the 
to be found there. Tc 
the proper angle Mr. M 
of Italians to lash 
foot ladders, upon wh 
was rigged up for 
entire UDper facade r 
ical exhibit, albeit n> 
tho natural history 
jostle shoulders with 
either side of the 
architecture is Byzant 
ugly-fanged snakes 
length. One tialf ex 
moment they will lea 
passengers below, 
said Professor 
matteV, 

•iraw the 
the interior o 
Tho picture 
show the thorooighn 
as well as the more 
from them. Where, 
year had only been < 
deflections and curv- 
summer reduce these 
disprove the theory 
Plumb line and masour! 
exorable Judges of the 
the older critics woMt* 
has sunk, measun men 
would show an appar/ 
Inches. Measurements 
from the side wall, on 
a sinking of nine inc 
one identical spot In 
sunk fourteen and n 
• 

slU’iice the most ca.ot 
evidence of the intentir “ 
is furnished by the con 
horizontal strippings 
the fifth bay/ from the 
the 8trippings have a 
course, to the fact t 
leaning portion of 
abuts upon the perp> 
ing into the cathedral 
to the beholder who 
chosen by Professor 
looking down a stfail 
lines on either side cjd 
the other being convex 1 
fipacings between sne 


and not meant to I 
arkable instance is ; 
scanella. Toscano 11a 


ig tTb columns for leans in one direc¬ 
tion or another. He had naturally taken it 


It wok in some me 
k style, that style which 
ar refinements of the 
subtleties of the temple 
go hack to the mother 
M civilization, it would fieem that the Greeks 
themselves owed their knowledge of the style 
to the Egyptians, who on the other hand ap¬ 
pear In certain instances to have transmitted 
it direct to Italy. 

At the art building* last Wednesday evening 
Professor Goodyear began a set of lectures on 
the discoveries here outlined, in which the 
points made wero Illustrated by a very fine 
series of lantern slide views. The remain¬ 
ing lectures will be given on'Wednesday even¬ 
ing. June 10, and Saturday evening. June 13, 
and will be open to all members of the Brook¬ 
lyn institute: The exhibition of Mr. Mc- 
•Kecknie’s enlarged bromide photographs and 
surveys will begin next Tuesday evening, 
June 9, and will continue until June 25. 


!N THE PEACEFUL QUAKER CITY. 

A long-eared mule) which had evidently 
strayed away from home, caused a long block 
in the trolley system on Twelfth street, near 
South, 'last evening. Growing tired of his 
wanderings Lhe mule conceived the idea that 
it would be a good thing to lie down and take 
a nap. This he proceeded to do, selecting 
the center of the car track as his couch 

■r„r 


mail eigmy-iive case o; rising pa 
uicut found by the Goodyear party, the r; 
for grained that tho columns on one side of varying In different Instances from th 



the irar.sept were of the same height as those 


n’t get a three cent ! on ths other. But presently he noticed that 


most daring and 
'diaeval designers is 
ibtain pictures from 
Cocknle gut a couple 
;r a couple of thirty 
camera platform 
photographer. The 
ds one of a zoolog- 
the kind found In 
>ks. Bulls almost 
>binxes. and down 
rose window (the 
Romanesque) two 
'job tbelr tortuous 
that the very next 
to the heads of the 
nonsense It Is,” 
aking of the 


ftis article 
Pisa surveys, 
points proved 
rofessor Good- 
atc approximate 
surveys of last 
dt and Inches and 
accidental settling, 
jieasurcment are in- 
and false. If, as 
ve It. the facade 
the front cornice 
inking of fourteen 
he,Identical angle 
other hair'd, show 
In other words, I 
facade hnftt have, 
net have sunk nine 
ahsurdum which must 
ous critics. Further 
nal lean of lhe facade 
ormation of the light 
the side walls. At 
rout of tho cathedral , 
listinct bend, due, of | 
at at this point the 
structure meets and 
ionlar portion. Pass- 
terlor, it Is manifest 
es the point of view 
dyear that he Is not 
t naye. The gallery 
e. one helng ctfacave, 
to the Interior. The 
essive columns arc 
examination proves 
he choir, although 


the Italian had to- do a deal of stretching 
to reach the top of a column with the poje. 


hree 

Inches to three feet. One of the most re¬ 
nounced examples Is Santa Marla Ara C ,|li 
at Rome. When Professor Goodyear visit/d 
that church In 1S70 he failed to discover ti|t 


l car was stopped almost on top of him, when 
ho raised his head, wagged his ears, winked 
solemnly at the molorman and calmly re¬ 
sume 1 his former position. No amount of 
yelling had the slightest effect upon hi* 


u out . ,_ , 

found unequal.' Closei tlou ( l° Wn t0 perspec 
that they’dlminlsh town 


the baptistry and the leaning tower. The 
young man stood In the public square one 
day examining these buildings,, when he 
turned from the tower to the cathedral and 
was struck with a hitherto unobserved slope 
of tho first cornice. Kuskln, In one of his 


the .Compass was 


the eye sets the llminu 
tive effect 
Turning to the Pisa 
question whether tho 
edifice was Intended by 


ments of the cathedral at Pisa, the result A as ascertained, and then _ 

of which confirmed Professor Goodyear s ifcnployed t.i fix The camera at precTscTy rlaht llon ' v *>lch Professor G 
observations. In 1891 Professor' Goodyear t„g>< to the surface to he photographed to at tlu * > re 

himself went abroad on a mission courier L matter If the operator photographed 'roiri 

hoolj on the lotos.' Incidentally. | cathedral roof or $rom a dizzy platform 


with his 
he made obso 


worth while, however. , . ■ 

the extraordinary k ictu ^'’’ r< choir, barely 
by Mr McKerkale fw a hundred feet high ! 
abutting from 


ations. following and confirm- j ia de by lashing two ladders together Lhe 


books, had recorded the same optical effect, ing those of pennethorne at Medinet Habon, |‘ a wall wero to be taken its precise center 


three foot in width ace] 



tower, Jt Is a moot 
lean of that famous ' 
its builders, a quos- • 
lodyear does not care J 111 

to call attention to 
» of the tower, taken 
\ a ledge of stone i tion 

church 


to 


DROP IN UNE OF ARCHES, SAN STEFANO, 

. (BrnoKlM Institute Survey, Takon by John W. McKechnte 

u 

aKtog measurements he found .surely ^anything was the matter with the pavemen 
h the columns on one side were 3is ? thousands failed who came before an 

after him. The mcasureineuta of 1895 
that there was. One of the pictures takfj 
by Mr. McKecknle^ very graphically show- 
this. A chair la plated on the pavement ne*, 
the •entrance, setting off a plumb line or 


_ _ the columns on one side wero 

two and* half feet shorter than on the other. 
U DQUf not be supposed tha; the dirainu- 
rches begius at one^ end of the 
continues without interruption 
Usually Professor Goodyear\has 


a of ar 
jrch i.n 
the 0 ®e 


BOLOGNA. 


siesta, and in the meantime other cars were 
being blocked by tho -first one. There were 
yovw s;x cars in the line before the »comhiDed 
efforts of ail the conductors and inotonnen, 
assisted by a six inch plank, resulted In the 
dislcxlgement «J the stubborn mule.-rPhlia- 
delphia Record. 















































































































































































































































































































































































































































